UC-NRLF 


[CAX   INSTRUCTIONS 


HAIR  MOM, 


PES^ALOZZIAN 


INDUCTrVfi    SYSTEM; 

TBAOHOfO 

MUSICALi    COMPOSITION 

AND   THE   ART   OF 

Extempommj?  Interlndes  and  Volnntaries. 
A.    N     JOHNSON. 

BOSTON  : 

OLIVER    DITSON    AND    COMPANY, 

277  Washington  Street. 

NEW  YORK:  C.  H.  DITSON  &  CO, 

7««   BUOADWAY. 

Entered  according  to  Act  of  Congress  In  the  year  ISM,  by  O  l  ;  y  «  b  D  i  t  s  o  If ,  In  the  ClttWt  Offlcc 
of  the  District  Court  «f  &e  DUtrict  of  lAWM^hnMtta.        '  *  ' 


OLIVER    DITSON    AND    COMPANY, 

277  Washington  Street. 

NEW   YORK:   C.  H.  DITSON  &  CO., 

711  Broadway. 

Entered  according  to  Act  of  Congress  in  the  year  1855,  byOtlVERDlTSON,  In  the  Clerk's  Offic* 
of  the  District  Court  of  the  District  of  Massachusetts. 


OLIVER    DITSON    AND    COMPANY, 

277  Washington  Street. 

NEW   YORK  :   C.  H.  DITSON  &  CO., 

711  Broadway. 

Entered  according  to  Act  of  Consress  in  the  year  1855,  by  O  I..  I V  E  R  D  I  T  S  O  N ,  In  the  Clerk's  Offic« 
of  the  District  Court  of  the  District  of  Massachusetts. 


PRACTICAL   INSTRUCTIONS 


HARMONY, 


VTOV  THX 


PESTALOZZIAN 


INDUCTIVE    SYSTEM; 


MUSICAI^    COMPOSITION 

AND    THE    ART    OF 

fiitemporizing  Interludes  and  Voluntaries. 

BT 

A.    N     JOHNSON. 

BOSTON  : 

OLIVER    DITSON    AND    COMPANY, 

277  Washington  Street. 

NEW   YORK:   C.  H.  DITSON  &  CO., 
711  Broadway. 

Entered  according  to  Act  of  Congress  in  the  year  1855,  by  Olivek  Ditson,  In  the  Clerk's  Offica 
of  the  District  Court  of  the  District  of  Massachusetts. 


1  g  c  r 

PREFACE.  VM    r, 

This  work  is  designed  for  the  class  of  persons  designated  in  tha 
language  )f  music  teachers  as  "  »e«f  beginners."  It  professes  to 
impart  a  .knowledge  of  Harmony,  not  by  essays  upon  the  varioua 
departments,  but  by  exercises  which  the  student  is  to  write, — or  so 
to  speak,  by  a  progressive  series  of  problems  which  the  student 
must  solve.  The  text  throughout,  has  for  its  sole  object  the  expla- 
nation of  the  prhiciples  which  must  be  understood  in  order  to  write 
the  next  succeeding  exercise.  In  many  instances,  part  of  a  rule  or 
primnple  is  explained,  while  the  remaining  parts,  or  the  exceptions, 
are  not  given  until  long  afterwards,  for  the  reason  that  a  knowledge 
of  them  is  not  necessary  in  order  to  write  the  next  exercise.  The 
utmost  simplicity  of  language  has  been  used  in  the  explanations, 
and  an  attempt  made  to  guard  against  misapprehension,  even  oa 
the  part  of  an  undisciplined  mind.  It  is  no  part  of  the  design  of 
the  work  to  advocate  any  particular  theory,  or  to  take  sides  on  any 
disputed  harmonic  point.  On  those  points  on  which  theorists  dis- 
agree, the  explanation  which  at  first  sight  has  appeared  most  plau- 
sible has  been  adopted,  but  no  particular  investigation  of  the  merits 
of  the  different  theories  has  been  made,  nor  is  any  opinion  in  refer- 
ence to  them  intended  to  be  expressed.  With  regard  to  sources  of 
information,  the  author  will  merely  state  that  he  studied  for  some 
time  with  Xavier  Schnyder  Von  Wartensee.  a  celebrated  theorist 
in  Germany,  and  has  read  most  works  upon  Harmony,  published 
in  the  English  and  German  languages. 

INTERLUDES  AND  VOLUNTARIES. 

Extemporising  interludes  and  voluntaries,  is  in  reality  composing  music,  conse- 
quently precisely  the  same  course  of  study  is  necessary  that  is  required  to  learn  to 
write  musi(>, — at  least,  the  most  thorough  method  for  learning  to  extemporise  well,  is 
to  learn  to  write  music  well,  or  in  otlier  words,  to  study  this  book  through  just  as 
it  is.  If,  however,  the  student  wishes  to  attend  only  to  those  departments  of  the 
subject  of  Harmony  which  have  a  direct  bearing  upon  the  subject  of  extempoiising 
interludes  and  voluntaries,  he  can  observe  the  following  directions.  On  page  23 
two  chords  only  are  used,  but  each  measui-e  may  be  said  to  form  a  complete  interlude. 
As  soon  as  these  two  chords  are  learned,  invent  other  interludes  with  them,  and  aj 
fast  as  new  chords  are  learned,  invent  interludes  which  shall  include  them.  In  all 
places  where  the  direction  is  given  to  "  compose  tunes  and  pieces,"  invent  interludes 
and  voluntaries  instead.  As  soon  as  the  invention  of  interludes  is  commenced,  read 
the  remarks  on  cadences  on  pages  143  and  205,  and  always  close  with  a  perfiect  or  a 
[jlagal  cadence.  After  becommg  familiar  with  major  and  minor  common  chords, 
study  chapter  XLIII,  and  introduce  passing  notes  in  the  invention  of  Interludes.  In 
all  places  where  the  direction  is  given  to  examine  music,  (as  on  page  106,)  examine 
written  iuterludes  and  voluntaiies  instead,  noticing  the  chords  and  passing  notej 
which  comp&se  them. 


EXPLANATION. 

A  knowledge  of  Hannony,  consists  in  an  acquaintance  ■with  all  the  chords  int<i 
which  the  tones  of  the  scale  can  be  combined,  and  a  familiarity  with  the  effect  pro* 
duced  by  their  various  progressions.  Experience  in  teaching  has  proved  thAt  the 
most  familiar  acquaintance  with  the  rules  is  insufficient  to  enable  the  pupil  to  write 
coiTCctly  or  fluently.  A  course  of  mental  discipline  seems  necessary  to  impress 
the  principles  of  Harmony  upon  the  mind,  and  impart  a  familiarity  with  the  effects 
produced  by  the  diiferent  chords  and  progressions,  which  is  as  indispensable  to  the 
musical  composer  as  a  familiarity  with  the  signification  of  words  is  to  an  author.  The 
course  contained  in  this  work  is  intended  to  discipline  the  mind,  and  impart  a  knowl- 
edge of  the  subject,  not  by  rules  and  principles  to  be  committed  to  memory,  but  by 
progressive  exercises  which  must  be  worked  out.  Before  commencing  this  study, 
students  must  be  familiar  with  the  Elementary  Principles  of  music.  Those  who 
have  studied  Thorough  Base  (see  pages  207  and  208,)  can  omit  the  first  nine  chap- 
ters and  commence  with  chapter  X.  Where  it  has  been  necessary  to  use  terms 
connected  with  the  Elementary  principles,  the  expressions  common  in  the  church 
music  books  published  in  Boston  and  New  York  have  been  employed,  and  the  nota- 
tion taught  in  them  adopted.  The  paragraphs  in  large  type  partake  of  the  nature 
of  rules.     These  in  smaller  type  are  explanations  or  directions. 


TO    TEACHERS. 

The  author  has  had  much  experience  in  teaching  Harmony,  and  is  confident  that 
this  method  is  easy  of  explanation,  and  certain  in  its  results,  and  that  it  is  impossible 
for  any  student  to  work  out  the  exercises  correctly,  in  accordance  with  the  directions» 
without  acquiring  a  practical  knowledge  of  the  subject.  Teachers  who  are  accustomed 
to  use  other  terms  than  those  employed  In  this  work,  may  at  first  be  embarrassed  by 
them.  The  terms  employed  in  all  English  works  are  objectionable,  scarcely  any  of 
them  conveying  the  ideas  sought  to  be  conveyed  by  them.  The  term  "consecutive 
fifth,"  for  example,  conveys  a  very  faint  idea  of  its  meaning  to  a  mind  ignorant  of  the 
subject  of  harmony.  So  with  most  of  the  other  tenns.  The  plan  adopted  in 
this  work  is  to  explain  the  rules  and  principles  in  language  which  unmistakably  con- 
veys the  correct  meaning,  afterwards  "  relapsing"  into  the  terms  most  frequently 
used  in  other  works. 


TO  STUDENTS  WITHOUT  A  TEACHER. 

The  utmost  care  must  be  used  not  to  leave  a  chapter  until  it  is  perfectly  understood, 
nor  until  every  direction  in  it  has  been  complied  with.  If  this  is  done,  each  chapter 
will  be  but  a  small  advance  upon  the  previous  one.  If  two  or  three  chapters  are 
imperfectly  learned,  it  will  be  almost  impossible  to  proceed  farther.  In  the  explana- 
tions it  is  taken  for  granted  that  all  that  has  been  explained  in  prevloiis  chapters 
V  remembered.  If  the  student  is  required  to  do  anything  which  is  not  explair  rd 
in  the  chapter  he  is  studying,  it  is  because  it  has  been  explained  previously,  am  ii 
he  has  forgotten  it,  he  must  review  the  chapters  which  he  ha'  already  studied 


INSTRUCTIONS  IN  HARMONY. 


CHAPTER  I. 

LETTERS  COMPOSING  THE  COMMON  CHORDS. 

A  Common  Chord  is  composed  of  three  letters,  so  arranged  that 
he  second  letter  is  at  the  interval  of  a  M//y/,  and  the  third  letter  at 
the  interval  of  a^yV//,  from  the  first  letter. 

The  first  (or  lowest)  letter  of  a  chord  is  called  the  Fundamental 
(or  chief)  Note. 

Chords  are  named  after  the  letters  which  form  their  fundamental 
notes  ;  thus,  if  A  is  the  fundamental  note,  the  chord  is  named  the 
chord  of  A,  &.c. 

There  are  seven  common  chords,  (one  being  named  after  each 
letter  in  the  scale,)  viz.,  the  common  chord  of  A,  the  common  choni 
of  B,  the  common  chord  of  C,  the  common  chord  of  D,  the  common 
chord  of  E,  the  common  chord  of  F,  and  the  common  chord  of  G. 

If  the  fundamental  note  of  a  chord  is  A,  what  is  the  name  of  the  chord  ?  B  ? 
C?    D?    E?     F?     G? 

What  letters  compose  the  common  chord  of  A  ? 

Ans. — A,  C,  E,  because,  in  the  common  chord  of  A,  A  is  the  fundamental 
note,  and  C  and  E  are  the  letters  which  are  at  the  intervals  of  a  third  and  fifth 
from  A. 

What  letters  compose  the  common  chord  ofB?     C?     D?     E?     F?     Q? 


CHAPTER  H. 

COMMON    CHORDS    INDICATED    BY    A    FIGURED    BASE. 

Give  the  names  of  the  following  common  chords. 

c  %  -J  ji>    -  V '  "  '       ' 


COMMON  CHORDS. 


Th !  first  of  the  fore^^ninf!;  chords  is  the  common  chord  of  C.  "!t  is  a  common 
chord  bocause  it  ctmsist>  of  I  luce  lettors.  the  second  and  third  of  which  are  at 
the  intervals  of  a  third  and  fifth  from  the  fundamental  (or  lowest _;  note.  It  ia 
the  common  chord  of  C,  because  C  is  the  fundamental  note. 


Chords  are  freiiueiitly  indicated  by  figures  placed  under  the  base. 

In  common  chords,  the  base  note  of  each  chord  is  either  the  fun- 
damental note,  or  the  third  or  fifth  letter  from  the  fundamental 
note. 

In  common  chords,  when  the  base  imte  is  the  fundamental  note, 
it  is  not  figured. 

In  common  chords,  when  the  base  note  is  t!ie  third  from  the  fun 
damental  note,  it  is  figured  6. 

In  common  chords,  when  the  base  note  is  the  fifth  from  the  fun- 
damental note,  it  is  figured  ^. 

Name  tlie  chords  indicatc'l  by  the  following  base  notes.  P^ach  note  has  no 
figure  under  it,  and  conse(|uenily  each  is  the  fundamental  note  of  a  ctnunon 
chord,  i.e.,  the  first  indicates  the  common  chord  of  C,  the  second  the  common 
|/d  of  E.  &c. 


Name  the  cliords  indicated  by  the  f(dlowin2  base  notes.  Each'  note  ha.s  the 
figure  G  under  it,  ami  corisc'((Men{ly  each  is  the  third  letter  above  tho  funda- 
mental note,  i.e  ,  tlie  first  in<iicates  the  coninion  chord  of  .\,  the  second  tlie  coti- 
mon  chord  of  B,  &c. 

GG6666()6      666      6      666G6U6U         6 

Nnnie  tlie  chords  indieafed  by  the  following  base  notes.  Each  note  h;is  (he 
6gures  3  under  it.  and  con.-ciiiiently  oacli  is  the  fifth  h.-ttcr  above  tin;  ftimhunen- 
tal  note,  i  e..  the  fir>t  indicates  the  coinuion  chord  of  C,  the  second  the  comnibn 
ehord  of  V,  cVc. 


4     4 


A    fi      6    f,      r.    0      n    n      b    «      a    r>      r,    r,       r,    g      q 

44        44        44        44        44        4     4         4     4        4 


CHORDS    OF    THE     SEVENTH.  7 

Exercise    in    naming   the   following   chords   until   the  names  are 
given  with  fluency. 

d  6        ('•  G  6  6     6 

fi  G66G6G  6 

4  4  i 


6        6        fi 
4 


?r^rf^EEE^EE-5£E:EzEI^EiEE!E?E^:E!£EE 

6G         66       0         66         6666666 
4  4        4  4       4 

66  66  66  6        6  <'>5 

4  4  4  4  4 


4 


CHAPTER  III. 

LETTERS    COMPOSI>fO    THE    CHOllDS    OF    THE    SEVF.NTH. 

k  Chord  of  ttje  Seventh  is  composed  of  fonr  letters,  so  arrang- 
ed that  the  second  letter  is  at  the  interval  of  a  l/a.r(/,  the  third  letter 
at  the  interval  of  a//^A,  and  the  fomth  letter  at  the  interval  of  a 


8  CHORDS    OF    THE    SEVENTH. 

aevcnth  from  the  fundamental  note.  In  other  words,  a  chord  of  the 
seventh  is  composed  of  a  common  chord,  with  a  letter  added  to  it 
which  is  at  the  interval  of  a  seventh  from  the  fundamental  note. 

There  are  seven  chords  of  the  seventh,  viz.,  the  chord  of  the 
seventh  of  A,  the  chord  of  the  seventh  of  B,  the  chord  of  the 
seventh  of  C,  the  chord  of  the  seventh  of  D,  the  chord  of  the 
seventh  of  E,  the  chord  of  the  seventh  of  F,  and  the  chord  of  the 
seventh  of  G. 

"What  letters  compo?e  the  chord  of  the  seventh  of  A  ? 

Ans. — A,  C,  E,  G, — because,  in  the  chord  of  the  seventh  of  A,  A  is  the 
fundamental  note,  and  C,  E  and  G,  are  the  letters  which  are  at  the  intervals  of 
third,  ffth  and  seventh  from  A.  Or,  in  other  words,  because  A,  C  and  E 
form  the  common  chord  of  A,  and  G  is  the  letter  which  is  at  the  interval  of  a 
eeventh  from  the  fundamental  note  (A). 

What  letters  compose  the  chord  of  the  seventh  ofB?  C?  D?  E?  F?  G? 


CHAPTER  IV. 

CHORDS    OF    THE    SEVENTH     INDICATED    BY    A    FIGURED    BASE. 

In  chords  of  the  seventh,  the  base  note  is  either  the  fundamental 
note,  or  the  third,  fifth  or  seventh  letter  from  the  fundamental  note. 

In  chords  of  the  seventh,  when  the  base  note  is  the  fundamental 
note  it  is  figured  7. 

In  chords  of  the  seventh,  when  the  base  note  is  the  third  from 
the  fundamental  note  it  is  figured  0. 

In  chords  of  the  seventh,  when  the  base  note  is  the  fifth  from  the 
fundamental  note  it  is  figured  ^. 

In  chords  of  the  seventh,  when  the  base  note  is  the  seventh  from 
the  Cmdamental  note  it  is  figured  ^. 

Name  the  chords  indicated  by  the  following  base  notes.  Each  note  has  the 
figure  7  under  it,  and  consequently  each  is  the  fundamental  note  of  a  chord  of 
the  seventh,  i.e.,  the  first  is  the  chord  of  the  seventh  of  C,  the  second  the  chord 
of  the  seventh  of  A,  &;c. 

77      77       77       77       77      77      77      77      77      77      7 


CHORDS    OF    THE     SEVENTH. 


Natie  Je  chords  indicated  by  the  following  base  notes.  Each  note  has  the 
Bo'ures  I  under  it,  and  consequently  each  is  the  third  letter  above  the  funda* 
men  al  note,  i.e.,  the  first  indicates  the  chord  of  the  seventh  of  A,  the  second 
the  chord  of  the  seventh  of  D,  &c. 


;?zazf 


R     6    6    6    6      6 
o    o    o     5    5      5 


6     6     6 
5     5    6    5 


6     6     6     6     6     6     6     6     6     6 
5555555555 


Name  the  chords  indicated  by  the  following  base  notes.  Each  note  has  the 
figures  t  under  it,  and  consequently  each  is  the  fifth  letter  above  the  fundamen- 
tal note,  i.e.,  the  first  indicates  the  chord  of  the  seventh  of  C,  the  second  the 
chord  of  the  seventh  of  E,  &c. 


Name  the  chords  indicated  by  the  following  base  notes.  Each  note  has  the 
figures  ^  under  it,  and  copsequently  each  is  the  seventh  letter  above,  or  (which 
is  the  same  thing,)  the  next  letter  below  the  fundamental  note,  i.e.,  the  first  in- 
dicates the  chord  of  the  seventh  of  D,  the  second  the  chord  of  the  seventh  of 
B,  &e. 

4444   4444   4444   4444   4444 
3322   2  222   2222   2222   2222 


Exercise  in  naming  the  following  chords,  until  it  can  be  done  with  perfect 
fluency. 


i 


7    6    4    4      7    6 
0     3     2  3 


4      4      7     6 

a      2  5 


4     4      7 

6     2 


4     4     7     6     4     4     7 
8     2  5     6     ti 


764  476  447  644 

532  5S2  532 


'mmmmmm^m 


i    i 


10  COMMON    CHORf  9. 


mw^mMmEm 


i    i      '     I    i 


764       4  7544  7fi44  7 

53       2  532  53       2 


CHAPTER  V. 

FURTHER    REMARKS    IN    RELATION    TO    COMMON    CHORDS. 

When  one  or  more  of  the  figures  1,  3,  5,  8,  are  placed  under  a 
hase  note,  the  name  of  the  chord  is  the  same  that  it  would  be  il 
ihese  figures  were  not  expressed. 

Name  the  chords  indicated  by  the  following  base  notes.  Each  note  has  one 
or  more  of  the  figures  1,  3,  5,  8,  under  it,  and,  consequently,  each  indicatea 
the  same  chord  that  it  would  if  no  figure  was  under  it,  i.e.,  the  first  indicates 
the  common  chord  of  A,  the  second  the  common  chord  of  C,  &;c. 

^5E?:PEt=EE?ip3^E^f£E*H:iE?:^£l-iEE 
i  i  i  J  ?  I  !  »  °  '  I  J  '  i  I  M  g  U    I 

^,  t),  or  t),  when  standing  alone  under  a  base  note,  or  when 
placed  under  or  over  a  figure,  indicates  that  the  letter  which  is  at 
the  interval  of  a  third  from  the  base  note  is  i^,  \},  or  fcj. 

Name  the  chords  indicated  by  the  following  base  notes,  and  tell  what  letter  in 
each  is  i^,  f),  or  t;.  The  first  base  note  indicates  the  common  chord  of  D,  with 
Ffcj.  The  fifth  base  note  indicates  the  common  chord  of  B,  with  D#  ;  the  5 
indicates  that  the  chord  is  the  same  it  would  be  if  no  fi^re  was  under  it ;  and 
the  i^  indicates  that  the  letter  which  is  at  the  interval  ot  a  third  from  the  base 
note  is  ^ 


gig^igigiiiiip 


#    *?    b    »     4     6 


ORIGINAL    USE    OF    FIGURES. 


11 


#,  I,,  or  Iq,  when  placed  at  the  left  hand  of  a  figure,  indicates  that 
the  letter  which  is  at  the  interval  from  the  base  note  denoted  by  the 
figure  is  #,  tj,  or  tj. 

Name  the  chords  iadicated  by  the  following  base  notes,  and  tell  what  letter  ia 
each  is  #,  \^,  or  K 


e=^. 


m 


#5 


bi 


^1 


be 

4 


H 


fs      bs 


n 


Ans. — The  first  is  the  common  chord  of  C,  with  G#.  The  second  is  the 
common  chord  of  D,  with  A^j.  The  third  is  the  chord  of  the  seventh  of  C, 
with  B^.  The  fourth  is  the  eooimoa  chord  of  A,  with  C\).  The  fifth  ia  the 
comm<m  chord  of  C,  with  Efj.  The  sixth  is  the  common  chord  of  E,  with  B^. 
The  seventh  is  the  cominoQ  chord  of  C,  with  (x\f.  The  eighth  is  the  eommoa 
-jhord  of  D,  with  'E^. 

Remark,  llic  #,  }?,  or  ^,  does  not  alter  the  meaning  of  the  figures,  as  pre- 
viously explained.  Thus,  #6  means,  first,  that  the  base  note  is  the  third  letter 
from  the  fundamental  note,  (i.e.,  just  what  6  alone  means;)  second,  that  the 
letter  which  is  at  the  interval  of  a  sixth  from  the  base  note  is  #. 


CHAPTER  VT. 


ORIGINAL    USE    OP    FIGURES, 


When  figures  were  first  used  to  indicate  chords,  three  figures  were  un- 
doubtedly placed  under  each  base  note.  The  base  note  was  considered  as  al- 
ways the  fundamental  note,  and  the  chord  was  considered  as  being  composed  of 
the  base  note,  with  the  letters  which  formed  the  intervals  from  the  base  not«  ex- 
pressed by  the  figures. 


lEE^EE^i 


=.=* 


!      i     ! 


2 


CHORDS    OF    THE    NINTH. 


In  *}je  above  example  the  figures  are  written  as  they  probably  were  when  the 
figured  base  was  first  invented.  It  will  be  seen  that  the  three  letters  represent- 
ed upon  the  treble  staff  form  the  intervals  from  the  base  which  the  figures  ex- 
press, i.e  ,  in  the  first  chord  the  three  notes  are  at  the  intervals  of  eighth, 
third,  and  fifth  from  the  base  note,  and  in  the  second  chord  af  the  intervals  of  sixth, 
eighth,  and  third  from  the  base  note.  The  first  three  of  the  above  chords  are 
common  chords  of  A.  The  last  four  are  chords  of  the  seventh  of  A.  From  tho 
foregoing  it  will  be  aeen  that — 

6  is  now  used  to  indicate  the  chord  formerly  indicated  by  ^  ;  «  is 
now  used  to  indicate  the  chord  formerly  indicated  by  ^  ;  7  is  now 
used  to  indicate  the  chord  formerly  indicated  by  h  ;  5  is  now  used 
to  indicate  the  chord  formerly  indicated  by  1  ;  ^  is  now  used  to  in- 
dicate the  chord  formerly  indicated  by  | ;  ^  is  now  used  to  indicate 
the  chord  formerly  indicated  by  |. 

Remark. — It  is  immaterial  which  figure  is  uppermost. — |  and  t  mean  the 
^ame  thing,  as  do  also  S  and  §,  t  and  |,  &c. 

6  may  be  considered  as  an  ahbreviatioii  for  the  full  figuring  | ;  % 
for  the  full  figuring  4  ;  7  for  the  full  figuring  5,  <fcc. 

8  3 

The  full  figuring  of  chords  is  sometimes  used,  instead  of  the  ab- 
breviations. 

Name  the  chords  indicated  by  the  following  base  notes. 


fioiiigiPiiiigEK 


6       6         6       0 

.'^4        5      4 
8      8       3a 


^ 


8      8        3 

i  I    5 


2      3       3       S 
6      4        5        7 

4      6        8        5 


Remark. — A  part  only  of  the  full  figuring  is  sometimes  employed,  for  exana- 
ple,  Sforg  (6);    J  for  |  (7),  &c. 


CHAPTER  Vn. 


CHORDS    OF    THE    NINTH. 


A  Chord  of  the  Ninth  is  composed  of  a  common  chord,  with  a 
etler  added  to  it,  which  is  at  the  interval  of  a  ninth  from  the  fim- 
imnuital  note. 


CHORDS    OF    THE    BLErtNTH.  IS 

WLit  letters  compose  the  chord  of  the  ninth  of  A  ? 

An3. — A,  C,  E,  B, — because  A,  C  and  E  form  the  common  chord  of  A,  and 
B  is  the  letter  which  is  at  the  interval  of  a  ninth  from  the  fundamental  note. 

What  letters  compose  the  chord  of  the  ninth  of  B  ?  C  ?  D  ?  E  ?  F  ?  G  ? 

In  chords  of  the  ninth  the  base  note  is  usually  the  fundamental 
aot<^.     It  is  indicated  by  the  figure  9. 

Name  the  chords  indicated  by  the  following  base  notes.  Each  note  has  the 
figure  9  und«r  it,  and  eonsec[uently  each  is  the  fundamental  note  of  a  chord  of 
the  ninth,  i.e.,  the  first  is  the  chord  of  the  ninth  of  C,  the  second  is  the  chord  of 
the  ninth  of  F,  &^ 

9d9<)9d999999999Q 


CHAPTER  Vm. 


CHORDS    OF    THE    ELEVENTH. 


A  Chord  of  the  Eleventh  is  composed  of  a  common  chord  with 
«  letter  added  to  it,  which  is  at  the  interval  of  an  eleventh  from  the 
^.indaraental  note. 

What  letters  compose  the  chord  of  the  eleventh  of  A  ? 

Ans. — A,  C,  B,  D, — because  A,  C  and  E  form  the  common  chord  of  A, 
and  D  is  the  letter  which  is  at  the  interval  of  an  eleventh  from  the  fundamental 
note. 

What  letters  compose  the  chord  of  the  eleventh  of  B  ?  C  ?  D  ?  E  ?  F  ?  G  ? 

In  chords  of  the  eleventh,  the  base  note  is  usually  the  fundamen- 
tal note.     It  is  figured  4,  or  sometimes  ^. 

Name  the  chords  indicated  by  the  following  base  notes.     Each  note   has  4 
or  t  under  it,   and  consequently  each  is  the  fundamental  note  of  a  chord  of  the 
eleventh,  i.e.,  the  first  is  the  chord  of  the  eleventh  of  G,   the  second  the  chord 
of  the  eleventh  of  B,  &c. 
[2] 


14 


DISCORDS. 


^iiHiifigliipHI 


CHAPTER  IX- 


Comnion  Chords  are  called  Cfmcords. 

Chords  of  ihe  seventh,  chords  of  the  ninth,  and  chords  of  th« 
eleventh,  are  called  discords. 

Discords  are  formed  by  adding  to  the  common  chord  the  lettcf 
which  is  a  seventh,  a  ninth,  or  an  eleventh,  from  the  fimdamental 
note. 

Two  discords  aie  sometimes  added  to  the  common  chord. 


-\- 

—0. — 
— #1— 
— #1  — 
— • — 


Hi 


iEEliiil 


1- 

1 

1 
— # rr 

==;= 

1 — 

E3=l 

f: 

-Z»_ 

ZZAH 

EE:|t 

7       I       ? 

t*  4  4 


7  7  4 

9  4 


In  the  first  of  the  above  examples  two  discords  are  added  to  the  common 
chord,  making  five  parts.  In  the  second  example  the  same  chords  are  givem 
with  one  of  the  letters  of  the  common  chord  omitted,  in  order  to  make  but  four 
parts. 

In  the  first  chord  of  the  above  examples  the  letters  which  are  at  the  intervals 
of  a  seventh  and  an  eleventh  are  added  to  the  common  chord,  forming  a  chord 
with  the  characteristics  of  both  the  chord  of  the  seventh  and  the  chord  of  the 
ninth. 

A  chord  composed  of  a  common  chord,  witli  the  lottei-s  added  to 
\i  which  are  at  the  intervals  of  a  seventh  and  a  ninth  from  the  iniir 
iamental  note  is  called  a  Chord  of  the  Seventh  and  Ninth. 

A  chord  composed  of  a  common  chord,  with  the  letters  added  to 


DISCORDS. 


15 


it  which  are  at  the  intervals  of  a  seventh  and  an  eleventh  froia  the 
fi  .idamental  note,  is  called  a  Chord  of  the  Seventh  and  Eleventh. 

A  chord  composed  of  a  common  chord,  with  the  letters  added  to 
it  which  are  at  the  intervals  of  a  ninth  and  an  eleventh  from  the 
fundamental  note,  is  called  a  Chord  of  the  Ninth  and  Eleventh. 

When  chords  containing  two  discords  are  used  in  a  four  part 
composition,  the  letter  which  is  the  third  of  the  common  chord,  or 
the  letter  which  is  the  fifth  of  the  common  chord,  must  be  omitted. 

In  the  second  part  of  the  foregoing  example,  the  fifth  of  the  first  chord,  and 
the  third  of  the  second  and  third  chords,  is  omitted  in  accordance  with  this  rule. 

Three  discords  are  sometimes  added  to  the  common  chord. 


In  the  first  chord  of  the  above  example,  the  letters  which  are  at  the  intervals 
of  a  seventh,  ninth  and  eleventh  from  the  fundamental  note  are  added  to  the 
common  chord,  making  six  parts. 

The  second  chord  is  the  same,  with  two  of  the  letters  of  the  common  chor^ 
omitted,  to  reduce  the  chord  to  four  parts. 

A  chord  composed  of  a  common  chord,  with  the  letters  added  to 
it  which  are  at  the  intervals  of  a  seventh,  a  ninth,  and  an  eleventh 
from  the  fundamental  note,  is  called  a  Chord  of  the  Seventh, 
Ninth,  and  Eleventh. 

When  a  chord  of  the  seventh,  ninth  and  eleventh  is  used  in  a 
composition  of  four  parts,  the  letters  which  form  the  third  and  fifth 
of  the  common  chord  must  be  omitted. 

Remark. — The  chords  of  the  seventh,  ninth,  and  eleventh,  are  precisely  th* 
«ame  when   combined  that  they  are  when  but  one  of  these  discords  appears  in 
*hord.     Exercises  upon  the  two  and  three  discord  chords  are  therefore  unnece* 


19  INTERVALS. 


CHAPTER  X. 

INTERVALS. 

The  differeiue  in  pitch  between  two  letters  is  called  an  Interval. 
From  a  letter  to  the   next  in  alphabetical  order  the  interval  la 
called  a  Second. 

Intervals  are  always  reckoned  upwards. 

What  letter  is  at  the  interval  of  a  second  from  A  ? 

Ans. — B,  because  it  is  the  next  letter  in  alphabetical  order  above  A. 

What  letter  is  at  the  interval  of  a  second  from  B?  C?  D?  E?  F?  G? 

From  a  letter  to  the  next  but  one  in  alphabetical  order  the  inter- 
val is  called  a  Third. 

What  letter  is  at  the  interval  of  a  third  from  A  ? 

Ans. — C,  because  C  is  the  next  letter  but  one  in  alphabetical  order  from  A 

What  letter  is  at  the  interval  of  a  third  from  B  ?  C  ?  D  ?  EV  F  ?  G  ? 

From  a  letter  to  the  next  but  two  in  alphabetical  order  the  interval 
IS  called  a  Fourth. 

What  letter  is  at  the  interval  of  a  fourth  from  A  ?  B  ?  C  ?  D  ?  E?  F  ?   G  ? 

From  a  letter  to  the  next  but  three  in  alphabetical  order  the  in-^ 
terval  is  called  a  Fifth. 

What  letter  is  at  the  interval  of  a  fifth  from  A?B?C?D?E?F?G? 

^'rom  a  letter  to  the  next  but  four  in  alphabetical   order  the  in- 
terval is  called  a  Sixth. 

What  letter  is  at  the  interval  of  a  sixth  from  A?  B?  C?  D?  E?  F?  G? 

From  a  letter  to  the  next  but  five  in  alphabetical  order  the  interval 
cs  called  a  Seventh. 

What  letter  is  at  the  interval  of  a  seventh  from  A?  B?  CI  DT  ET  FT  G« 

Name  the  intervals  in  the  following  example. 


V 


A  second  containing  a  half  step  (or  semitone,)  is  called  a  Minob 

f^COND. 

A  second  containing  a  step  (or  tone.)  is  called  a  Major  Second. 
A   third  containing  a  step  and   a  half   step   is  called  a  MiNor 
Third, 
A  third  containing  two  steps  is  called  a  Major  Third. 
A  fourth  containing  two  steps  and  one  half  step  is  called  a  Per- 

rECT    F  CURT  7^:. 

A  fourih  containing  three  steps  is  called  a  Superfluous  Fourth. 

A  fifth  contaniing  three  steps  and  one  half  step  is  called  a  Per- 
fETT  Fifth. 

A  fifth  containing  two  steps  and  two  half  steps  is  called  a  Di- 
Mi>'fSHED  Fifth. 

A  sixth  containing  four  steps  and  one  half  step  is  called  a  Major 
.•sixth. 

A  sixth  containing  three  steps  and  two  half  steps  is  called  a 
Minor  Sixth. 

A  seventh  containing  five  steps  and  one  half  step  is  called  a 
Major  Seventh. 

A  seventh  containing  four  steps  and  two  half  steps  is  called  a 
Minor  Seventh. 

Minor  Seconds.  Major  Seconds.     Minor  Thirds. 

L__|__      ^:^^4^_^_       _  I  J 


1 — r 


mmmm 


^j: 


Perfect  Fourths.  Superfluous  Fourths.  Diminished  Fifths.  Perfect  Fifths. 


I    1       1      1      ,       J     I     .      1  J    I 


1      1 

9 


18 


Minor  Sixths. 


THE    MAjo„    SCALJC. 


Major  Sixths. 


Minor  Sevenths. 


Major  ScTenths. 

*  IJ 


\Zil: 


CHAPTER  XI. 


THE     MAJOR     SCALE. 


A  series  of  seven  tones,  so  arranged  that  there  is  the  interval  of 
a  minor  second  between  the  third  and  fourth  tones  and  intervals  ol 
major  seconds  between  the  other  tones,  is  called  the  Major  Scale. 

This  scale  may  commence  on  any  letter,  care  being  taken  that 
the  above-named  order  of  intervals  is  preserved. 

When  the  scale  commences  on  C,  the  order  of  inte  rvals  is  correct. 
When  it  commences  on  any  other  letter,  sharps  or  flats  must  be  em- 
ployed to  preserve  the  order  of  the  intervals. 

The  scale  is  said  to  be  in  the  Key  of  the  letter  with  which  it 
commences. 

If  the  scale  commences  on  A,  it  is  said  to  be  in  the  key  of  A,  i.e., '  key  of  A' 
means  that  A  is  the  first  tone  of  the  scale. 


Key  of  C. 


Key  of  A.  Key  of  E 


-#-« 


Key  of  B. 


Key  of  F^. 


#r^ 


Key  of  C#. 


^-^^=^tl'l^=^^& 


•-#— 


~^^ 


THE    MAJOR    SCALE. 


19 


Key  of  G#. 


Key  of  M. 


E*!?«g: 


— a-#- 
•-* — 


Key  of  A#. 


KeyofE#. 


KeyofBff. 


Key  of  F. 


fJ^-iH*: 


KeyofBb- 


Key  of  El?. 


-^-#A ^ #-*- 


Key  of  A  t> 


i«if: 


Key  of  Db- 


Key  of  Gb- 


)?=t6 


KeyofCb-  KeyofFtT. 


Key  of  Bbb- 


:fc^: 


Key  o{  Ebb 


Key  of  Abb- 


Key  of  Dbb- 


The  sharps  or  flats  which  are  placed  at  (he  commencement  o.. 
each  key  are  said  to  form  the  Signature, 


20  THE    MAJOR    SCALE. 

The  signature  of  the  key  of  A  is  three  sharps.  The  signature  of  the  key  <x 
A4f  15  ten  sharps.  The  signature  of  the  key  of  C  is  called  natural.  Natural, 
in  this  case,  means  simply  that  no  sharps  or  flats  are  necessary  to  preserve  the 
order  of  the  intervals  when  the  scale  begins  on  C,  not  that  it  is  any  more  natu- 
ral to  sing  or  play  in  the  key  of  C  than  in  any  other  key. 

What  is  the  sicrnature  of  the  key  of  A  ?  A#  ?  B  ?  B#?  D  ?  D^  ?  E  ?  Y^  ^ 
F  ?  F^  ?  G  ?  G#  ? 

What  is  the  signature  of  the  key  of  Ab?   A\)[)l   Bb?  B^b^    Cb?   Db^ 

Dbb?  J^b?  Ebb?  i^^b?  Gb? 

What  letters  form  the  scale  in  the  key  of  A  ? 

Ans. — A,  B,  C  sharp,  D,  E,  F  sharp,   G  sharp. 

What  letters  form  the  scale  in  the  key  of  A^  ? 

Ans. — A  sharp,  B  sharp,  C  double  sharp,  D  sharp,  E  sharp,  F  double 
sharp,  G  double  sharp. 

What  letters  form  the  scale  in  the  key  of  B  ?  B^?  C?   C^>    B?    D:?^?    E? 

E^?   F?  F:^.?  G?  G^?     ■ 

What  letters  form  the  scale  in  the  key  of  A  b?  Abb?  ^b?  Bbb?  Cb?  I>b? 

Dbb?  Eb?  Ebb?  Fb?  (^b? 

There  is  a  key  formed  by  the  use  of  flats  precisely  like  each  key 
formed  by  the  use  of  sharps,  and  a  key  formed  by  the  use  of  sharps 
precisely  like  each  key  formed  by  the  use  of  flats. 

The  key  of  E  and  the  key  of  Fb  are  precisely  alike,  as  are  also  the  keys  of 
G  and  Abb>  the  keys  of  Y^rf  and  Gb,  &c.  This  can  be  readily  proved  by 
playing  the  scale  in  these  keys  on  the  pianoforte. 

To  find  the  key  formed  by  the  use  of  flats  which  is  the  same  as 
one  formed  by  the  use  of  sharps,  or  vice  versa,  find  the  difference 
oetween  the  number  of  sharps  or  flats  in  the  signature  and  twelve. 

What  key  formed  by  the  use  of  flats  is  the  same  as  the  key  of  A  ? 

Ans. — The  signature  of  the  key  of  A  is  three  sharps.  The  difference  between 
three  and  twelve  is  nine,  consequently  the  key  which  has  the  signature  of  nine 
flats  (Bbb)  is  the  one  required. 

What  key  formed  by  the  use  of  flats  is  the  same  as  the  key  of  A4f  ?  B?   C? 

C^-i  D>  Dtt?  E?  E#?  1<^> 

What  key  formed  by  the  use  of  sharps  is  the  same  as  the  key  of  Ab?  Abb- 
Bb?  Bbb?  C.^  Cb?  Db?  Bbb?  Eb?  Ebb?  I^-'  I'b?  Gb? 


VARIETIES    OF    COMMON    CHORnS.  21 


CHAPTER  Xn. 

VARIETIES    OF    COMMON    CHORDS. 

Chords  are  named  from  the  letters,  to  denote  their  abstract  or 
positive  pitch.  They  are  also  named  from  nmnerals,  to  denote 
their  relative  pitch. 

If  071C  of  the  scale  is  the  fundamental  note  of  the  chord,  it  is  called 
ihe  Chord  of  One  ;  if  two  is  the  fundamental  note,  the  Chord  of 
Two,  &e. 

The  chords  when  named  by  numerals  are  usually  designated  by 
the  Roman  figures,  I,  II,  III,  IV,  Y,  VI,  VII. 

Common  Chords  ia  the  Key  of  C. 


q==^=— =j===s===2==^— 


I  II  III  IV  V  VI  VII 

Commoa  Chords  in  the  Key  of  G, 

. — 0 g 1*" 


-!=■ 


i         II       III      IV        V       VI      VII 

What  letters  compose  the  common  chord  of  I,  in  the  key  of  D  ? 

Ans.— D,  F^,  A. 

What  letters  compose  the  common  chord  of  II,  in  the  key  of  D  ?  The  chord 
of  III?  IV?  V?  VI?  VII? 

Remark. — It  will  be  well  for  the  student  to  pass  through  all  the  keys  in  thia 
way,  telling  what  letters  compose  the  common  chords  of  I,  II,  III,  IV,  V,  VI 
and  VII,  in  each  key. 

A  common  chord,  composed  of  a  fundamental  note,  a  major  third 
and  a  perfect  fifth,  is  called  a  Major  Common  Chord. 

The  common  chords  of  I,  IV,  and  V,  are  major  common  chorda. 

A  common  chord  composed  of  a  fundamental  note,  a  minor  third, 
and  a  perfect  fifth,  is  called  a  Minor  Common  Chord. 


22  VARIETIES    OF    COMMON    CHORDS, 

The  common  clioids  of  II,  III,  and  VI,  are  minor  common  chords, 

A  common  chord  composed  of  a  fundamental  note,  a  minoi  thifd 
and  a  diminished  fifth,  is  called  a  Diminished  Common  Chord. 

The  common  chord  of  VII  is  a  diminished  common  chord. 

"Write  the  major  common  chords  in  the  keys  of  C,  G,  D,  A,  E,  B,  F^.  Gp, 
Db   Ab  Eb  B'b  and  F. 

Major  Common  Chords  Major  Common  Chords 

in  the  Key  of  C.  in  the  Key  of  G. 


Write  the  minor  common  chords  in  the  keys  of  C,  G,  D,  A,  E,  B,  Fff,   G\) 
Db,  Ab,  Eb,  Bb,  and  F. 

Minor  Common  Chords  Minor  Common  Chords 

in  the  Key  of  C,  in  the  Key  of  G. 


-A- ,'- 1 jf       rr 


II        III       VI 

Write  the  diminished  common  chords  in  the  keys  of  C,  G,  D,  A,  E,  B,  F^, 
Gb,  Db.  Ab,  Eb,  Bb,  and  F. 

Diminished  Common  Chord  Diminished  Common  Chord 

in  the  Key  of  C.  in  the  Key  of  G,  • 


m 


Ex  feEEF^EEff  SEES-Elf^^- 

vii  VII 

Remark. — It  will  be  well  for  the  student  to  practice  all  the  chords  in  all  th( 
keys  upon  the  pianoforte,  first  playinp:  the  major  common  chords  in  every  key, 
then  the  minor  common  chords,  and  finally  the  diminished  common  choixls,  cc^o- 
tinuing  t  lo  practice  until  fluency  is  attained. 


BEST    POSITIONS    Ot'    COMMON    CHORDS. 


CHAPTER  Xni. 


BEST    POSITIONS    OF    COMMON    CHORDS. 


A  very  common  progression  in  all  varieties  of  musi«  is  for  the  chords  of  I  and 
V   to  follow  each  other. 

The  following  are  the  best  positions  for  this  progression. 

Key  of  C. 

fixERCISE    No.     1. 


I=^= 

1 

1 

3= 

=5- 

=R=I= 

— 0 — 

Ef=;i 

_£=-p- 

— i — 

9 
V 

I 

— 'r 
1 

i 

i-T ^^— 

r 

, 



-*- 

._•_ 

— ii_ 

0       0 

—\ — 

_S 

Exercise  No.  2. 


The  same  example  in  the  Key  of  Gr. 


1 1— — l- 

I  V  I 


-f- 


Write  the  above  example  in  the  keys  of  C,  G,  D,  A,  E,  B,  F#,  Gb,  Db' 
Ab,  Eb,  Bb.  and  F. 

Practice  the  above  example  upon  the  pianoforte,  playing  it  in  the  keys  of  C, 
G,  D,  A,  E,  B,  F#,  Gb,  Db,  Ab,  Eb,  Bb,  and  F,  continuing  the  exercise 
until  fluency  is  attained. 

Remark  — '  Progression'  means  the  manner  in  which  chords  move,  or  follow 
each  other. 


Another  common  progression  is  for  the  ch^ius  of  I    and  IV    to  follow  eacb 
other. 

The  following  are  the  best  positions  for  this  progression 


BEST    POSITIONS    OV    COMMON    CHORDS. 


Exercise  No.  3. 

I        IV        I 


--« — F — *^T=* F 


m 


Write  the  above  example  in  the  keys  of  C,  G,  D,  A,  E,  B,  F#,  Gj?,  D[>, 
Ab,  Eb,  Bb,  and  F. 

Practice  the  above  example  in  all  the  above-named  keys,  upon  the  pianoforte, 
continuing  the  exercise  until  fluency  is  attained. 

The  following  are  the  best  positions  for  the  progression  in  which  the  chord  ol 
II   is  most  commonly  introduced. 


Exercise  No.  4. 


#-  '0- 

m — \0 


mUSi 


?-^^^ 


11 


Write  and  practice  the  above  example  in  the  same  keys  as  in  the  previous 
examples. 

The  following  are  the  best  positions  for  the  progression  in  which  the  chord  of 
in    is  most  commonly  introduced. 


Exercise  No.  5. 

'    '    --!H— ' 


I  III  IV  11  V  I 

H— 


Write  and  practice  the  above  example  in  the  same  keys  as  in  the  previooi 
•xamplcs. 


yORMS.  25 

The  ibllowing  aie  the  best  positions  for  the  progression  in  which  the  chord  oi 
V  I  is  most  eomuionly  in  reduced. 

Exercise  No.  6. 

!^in-n'r:ni:^:-n:z+TZ|-^_— 5 
I    V   VI    II  V    I  ' 


Write  and  practice  the  above  example  in  the  same  keys  as  in  the  previous 
examples. 

Remark. — It  is  very  important  that  the  student  should  be  so  familiar  with 
the  above  examples  as  to  be  able  to  play  them  from  memory  in  every  key  at  any 
time ;  in  short,  so  familiar  with  them  that  they  will  never  be  forgotten. 


CHAPTER  XIV. 


When  the  base  note  of  a  chord  is  the  fundamental  notCj  the  chord 
is  said  to  be  in  the  First  Form. 

When  the  base  note  of  a  chord  is  the  third,  the  chord  is  said  to 
be  in  the  Second  Form. 

Wlien  the  base  note  of  a  chord  is  the  fifth,  the  chord  is  said  to  be 
a  the  Third  Form. 


Common  Chord  of  C, 
first  form. 


Common  Chord  of  C, 
second  form. 


mmm 


Comninn  Chord  of  C 
third  form. 


[31 


id 


When  the  cliords  are  designated  by  the  Roman  numerals,  the  fona 
is  usually  indicated  by  a  figure  placed  over  the  numeral ;  thus,   I 

o 

danotes   the   cl  ord   of  one,  first  form  ;   I  the  chord  of  one,  second 
form,  &.C. 


"Write  the  following  chords  in  the  key   of  C — 


]        '2        3       2        ]  3 

I    111    VI    II    IV    VII    I    V 

13       3        1 
Vll    IV    V    VI 


^  l\ 


2  1  2        3 

VI    III     Vil     I 


2        3        3 

IV    11    III 


Example. 


ESEEPEEI: 


|EE|^e. 


ii^l^i: 


S 


l?==FF&c. 


I 


III. 


3 
VI. 


[V.' 


Remark. — It  is  imraaterial  in  what  positions  the  parts  upon  the  treble  staf 
are  written.  The  design  of  the  exercise  is  to  impart  a  knowledge  of  the  forms. 
The  chords  in  the  exercise  are  not  designed  to  have  any  harmonic  connection 
with  each  other. 

I     Write  the  above  exercise  also  in  the  keys  of  G,  D,  A,  E,  B,  F#,   G[j,  I>\), 
Ab,  Eb.  I^b.  and  F. 

Best  positions  for  a  progression  consisting  of  the  common  chords 

i  i!  f  ^'  i 

Exercise  No. 


._l_. 


I. 


N±?.=EEizEEE!iE?EcEEEEE?:I:!EcEEiEi?;[l: 

i  11  f  ^  1 


Write  the  above  exercise  in  all  the  keys,  and  then  practice  it  thoroujrhly  io 
ftU  th)  k»ys  upon  the  piano,  until  the  ability  to  play  it  from  memory  is  attained. 


27 


Remark. — The  keys  which  have  the  signatures  7,  8,  9,  10,  and  11  sharps, 
being  precisely  like  those  which  have  5,  4,  3,  2,  and  1  flats,  and  the  keys 
which  have  the  signatures  7,  8,  9,  10,  and  11  flats  being  precisely  like  those 
which  have  the  signatures  5,  4,  3,  2,  and  1  sharps,  it  is  not  customary  to  use 
more  than  six  sharps  or  flats  for  signatures.  When  directions  are  given  to  write 
or  play  an  exercise  in  all  the  kevs,  it  will  be  understood  that  in  all  cases  th* 
keys  of  C,  G,  D,  A,  E,  B,  M   Gb,  J)\),  K\),  Eb,  Bb,  and  F,  are  meant. 


Best  positions  for  a  progression  consisting  of  the  common  chords 
3     1       1 
I     V     I 


1 
III 


1 

IV 


Exercise  No.  2. 


Il.llll  1«  »    0    m    m    *    ft    i^ 

^-<'-'d-^-*-#-^-'=[--;rff-;r-r-h-'=F-pp-F-F-F=P-tt 


^^iszczppzrzfziizpt-rippir^rzfzp: 


Jill 

I  III  IV  II 


3     1     1 
I    V  1 


Write  and  practice  the  above  exercises  in  all  the  keys. 

Best  positions  for  a  progression  consisting  of  the  common  chords 


Exercise  No.  3. 


2:— i-izJ- 


=s:=q:=2: 


-m — *- 


—  w — 1^ — »- 


::E!:EEEEEE5^EEEE?EE 


r 


II 


VI     II 


i 


"^ 


:f:_#_#-     L_f:_^ 

.  — » — w — « — r — 1^ — 


m 


iii^^^^i^g^l 


Write  ind  practice  the  above  exercise  in  all  the  keys. 


28  FORMS. 

Write  and  practice  the  following  exercise  in  all  the  keys. 


KxBBOIfiB  No.  4. 


2 

IV 

-4-  -' 


i   ^   i  iV 


n — n  — i- — I — I — I — I — I — I — n — i — ir 

2  — «— « — «  — 2 — «— « — #1— 2-— • — « — *• 


'x=.z-i,z:!Lzs=z.--. 


m 


w — w — w — ^ — I ^       "■ 


^^ 


rzz^: 


:|LgzzgzzezzH-g_rz:_g_r 


i- 


-V-#— » a-T-S— £— S— .»— 5 


-1 — !•— i — I 


iiil^giE^iglNiiEs 


i      »      • »      2 


",•— I — f        ._ 

— I — I — I — l- 

T  — ' — ' — ' — r 


rF 


Kemark.— The  exercises  in  this  and  the  previous  chapters  are  progressions 
(or  Buccessions)  of  common  chords  which  occur  very  frequently  in  all  kinds  o^ 


music,  ChorJs  can  succeed  each  other  in  an  infinite  variety  of  pi i>gressiong, 
and  composers  are  continually  inventing  new  arrangements.  In  a  treatise  on 
harmony  it  is  only  possible  to  notice  the  most  common  successions.  If  the  stu- 
dent has  followed  the  directions,  he  is  now  practically  familiar  with  progressiona 
of  common  chords,  some  of  which  will  be  found  in  every  strain  of  nearly  every 
species  of  music.  It  will  be  noticed  that  in  each  of  the  exercises  of  this  and  the 
previous  chapter,  that  each  succession  of  chords  is  written  in  three  different  po« 
sitions.     These  positions  are  explained  in  Chapter  XVI. 


CHAPTER  XV. 


When  two  parts  move  the  same  way,  they  are  said  to  progress 
m  Similar  Motion. 

When  one  part  moves  and  the  other  remains  stationary,  they  are 
said  to  progress  in  Oblique  Motion. 

When  two  parts  move  in  different  directions,  they  are  said  to 
progress  in  Contrary  Motion. 

Similar  Motion.  Oblique  Motion.  Contrary  Motioa, 

I 


mm 


T 

Rule  I. —  Two  parts  which  form  perfect  fifths  i?i  a  chord,  must  not 
form  perfect  fifths  in  the  next  chord^  miless  they  progress  in  oblique 
or  contrary  motion. 

Remark. — This  is  commonly  called  the  rule  of  consecutive  fifths.  The  mean- 
ing of  the  rule  is,  that  if  two  parts  (the  treble  and  alto  for  instance,)  form  per- 
fect fifths  in  a  chord,  those  two  parts  (i.e.,  the  treble  and  alto.)  must  not  form 
perfect  fifths  in  the  next  chord,  if  they  progress  in  similar  motion.  Observe 
that  the  rule  does  not  forbid  such  fifths  if  made  by  different  parts,  (i.e.,  if  the 
treble  and  alto  form  perfect  fifths  in  a  chord,  it  does  not  forbid  the  treble  and 
tenor,  or  the  alto  and  base,  (&c.)  from  forming  perfect  fifths  in  thfe  next  chord,) 
but  only  forbids  consecutive  perfect  fifths  between  the  same  parts,  (i.e.,  if  tha 
treble  and  base  form  perfect  fifths  in  a  chord,  the  treble  and  base  must  not  form 
perfect  fifths  in  the  next  chord  ;  or  if  the  tenor  and  alto  form  perfect  fifths  in  a 
chord,  the  tenor  and  alto  must  not  form  perfect  fifths  in  the  nest  chord,  &c.,  &c.) 
Observe,  also,  that  the  rule  forbids  such  fifths  only  when  the  two  parts  progress 
in  similar  motion  ;  that  the  prohibition  is  against  perfect  fifths  only,  (not  against 
diminished  fifths);  and  that  it  does  not  forbid  consecutive  fifths  between  two 
parts  in  consecutive  chords  when  the  two  parts  are  stationary 
[3*] 


30 


Consecutive  perfect  fifths  between 
two  parts  progressing  in  similar 
motion.     Wrong. 


'm 


Consecutive  perfect  fifths  between 
two  parts  progrestiiiig  in  oblique 
motion.     Rigiit. 


Consecutive  perfect  fifths  between 
two  parts  progressing  in  contrary 
motion.     Right. 


Consecutive  perfect  fifths  between 
the  upper  and  lower  parts  in  the 
first  chord,  and  the  upper  and 
middle  parts  in  the  second  chord. 
Right. 


#1- 

«- 


I 


Conse^  itive  perfect  fifths  betweer 
two  pirts  which  remain  stationary 
on  the  same  degrees  of  the  scale. 
Right. 


:~n: 


--F--F- 


Consecutive  diminished    fifths   pro. 
gressing  in  similar  motion.  Right 


Remark. — The  term  "  Consecutive  Fifths,"  is  always  understood  to 
wean  consGcuUve  perfect  fifths,  although  the  word  "  perfect"  is  not  usually 
rxpressed. 

Point  out  the  consecutive  fifths  in  the  following  example. 

Exercise  No.   1. 


3    4    5 


7    8    9    10  11   12  13   1.4  15  16  17  18  19  20  21 


-i-n-i^ 


lii^^iifE^i-^siifi 


Remark. — In  all  exercises  in  this  work,  the  highest  part   will   be   consi- 
iered  as  the  treble,  the  second  part  as  the  alto,  and   the   third   part   at  il»« 


CLOSE    HARMONY.  *  31 

In  the  foregoing  example  the  alto  and  base  form  consecutive  fifths  in  tho 
3d  and  4th  chords,  the  tenor  and  base  in  the  5th  and  6th  chords,  the  treble 
and  tenor  in  the  7th  and  8th  chords,  the  tenor  and  base  ni  the  10th  and 
11th  chords,  the  treble  and  base  in  the  13th  and  14th  chords,  the  treble  and 
alto  in  the  15th  and  16th  chords,  and  the  alto  and  tenor  in  the  I8th  and 
I9th  chords. 


CHAPTER  XVI. 


CLOSE    HARMOVr. 


When  chords  are  so  arranged  that  all  the  letters  composing  the 
3hord,  except  the  base  note,  are  placed  as  near  the  treble  as  possi- 
ble, the  chord  is  said  to  be  in  Close  Harmony. 


mmm 


In  the  above  example,  the  common  chord  of  C  is  arranged  in  close  har- 
mony in  three  positions;  i.e.,  the  letters  composing  the  common  chord  of  G 
are  placed  as  near  the  treble  as  possible. 

When  the  letter  which  is  the  fimdam,ental  note  is  the  treble  note, 
the  chord  is  said  to  be  in  the  First  Position. 

When  the  letter  \vhi(*h  is  the  third  is  the  treble  note,  the  chord 
is  said  to  be  in  the  Second  Position, 

W'.en  the  letter  which  is  Xhe  fifth  is  the  treble  note,  the  chord  is 
said  to  be  in  the  Third  Position. 

In  the  above  example,  the  first  chord  is  the  common  chord  of  C,  first  po. 
sition — because  the  treble  note  is  the  letter  which  is  the  fundamental  note 
The  second  chord  is  the  common  chord  of  C,  second  position — because  the 
.reble  note  is  the  letter  which  is  the  third.  The  third  chord  is  the  common 
chord  of  C,  third  position — because  the  treble  note  is  the  letter  which  is  the 
5fth 


m 


CLOSE    HARMONY. 


When  chords  are  arranged  in  close  harmony,  each  chord  must  be 
m  the  first,  second,  or  third  position,  unless  such  an  arrangement 
ei)lates  the  rules,  in  which  case  an  irregular  position  maybe  taker.- 

In  Exercise  No.  6,  Chap.  XIII,  (page  25,)  the  tliird  chord  is  placed  in 
an  irregular  position,  because  a  consecutive  fifth  would  have  been  made, 
(i.2..  Rule  No.  I  would  have  been  violated,)  if  it  had  been  in  the  regular 
position.  In  Exercise  No.  1,  Chap.  XIV,  (page  2G,)  the  second  chord  in 
the  third  measure  is  placed  in  an  irregular  position,  because  if  it  had  been 
in  the  regular  (third)  position,  Rule  No.  1  would  have  been  violated. 

Point  out  the  chords  on  the  27th  and  28th  pages,  which  are  placed  in 
irregular  positions  to  avoid  violating  Rule  No.  1.  Some  of  the  chords  in 
those  pages  are  placed  in  irregular  positions  to  avoid  violating  other  rules. 
Notice  that  it  is  required  to  point  out  only  those  which  are  so  placed  to 
avoid  violating  Rule  No.  1. 

Remark  — It  w"  be  well  to  notice  that  the  P^xercises  in  Chapters  XIII 
and  XIV,  are  all  ^  ranged  in  three  positions,  i.e.,  the  first  and  last  chords 
in  the  first  nieasuz-e  of  each  example,  are  in  the  first  position  ;  the  first  and 
last  chords  in  the  second  measure  in  each  example  are  in  the  second  posi- 
tion ;  and  the  first  and  last  chords  in  the  last  measure  in  each  example  are 
in  the  third  position ;  the  other  chords  in  each  measure  being  arranged  in 
the  best  relations  to  the  first  and  last  chords. 

Write  the  following  exercises  in  close  harmony,  using  regular  positions, 
except  where  such  positions  will  violate  Rule  No.  1. 

Remark. — The  chords  required  in  the  exercises  are  indicated  by  the 
figured  base.  The  student  must  use  the  treble  part  here  given,  i.e.,  he  has 
to  write  only  the  two  parts  next  below  the  treble,  placing  them  so  as  to  form 
a  first,  second,  and  third  position  to  each  chord,  unless  such  a"  position  will 
violate  the  rule.  In  all  subsequent  exercises,  if  the  treble  is  printed,  the 
Etudent  is  only  required  to  add  the  alto  and  tenor,  using  always  the  printed 
treble  for  his  highest  note. 


Exercise  No. 


ligg-ipgE^pi^iii 


^ig=lil 


6        6 


CLOSE     HARMONY. 


^        .«_ 


3o 


::f=:^:-=-+- 


s 


ExERcrsE  No.  9. 


Remark. — In  the  above  exercises  the  student  must  carefully  avoid  conse- 
«iutive  fifths.     Care  must  be  taken  to  notice  the  progression  of  each  part. 

In  tlie  Pii-st  of  the  following  examples  tbe  tenor  in  the  first  chord  is  D, 
nnd  it  moves  to  E  in  the  second  chord.  By  so  doing  it  forms  consocutive 
fifths  with  the  base.  This  consecutive  fifth  is  avoided  in  the  second  exam- 
ple, by  causing  the  tenor  (D)  in  the  first  chord  to  move  to  C  in  the  second 
cbi  fd.- 


mmm 


^ 1 


mm^^ 


J4  CONSECUTIVE    OCTAVES. 

CHAPTER  XVII. 

CONSECUTIVE      OCTAVES. 

The  scale  may  be  repeated  at  a  higher  or  lower  pitcli. 


-*.    # 


I      II     III    IV     V     VI   VII.  I      II     III     IV     V    VI    VII. 

The  interval  from  VII  of  a  scale  to  I  of  the  scale  next  above,  is  a 
half  step  (minor  second). 

The  interval  from  a  letter  to  a  letter  of  the  same  name  in  the 
next  higher  scale  is  called  an  Octave. 

For  example,  the  interval  from  C  in  the  lower  scale  to  C  in  tlie  upt>er 
scale,  in  the  above  example,  is  an  octave,  as  .ire  also  the  intervals  from  1)  in 
the  lower  to  D  in  the*  upper  scale,  from  E  in  the  lower  to  E  in  the  upper 
Bcale,  &.C. 

Rule  II. —  Tiro  jxirls  which  form  octaves  in  a  chord.  Tn?is(  7ioi 
form  octaves  in  the  next  chord,  unless  they  progress  in  oblique  or  con- 
trary motion. 

Remark. — This  is  comnionly  called  the  rule  of  consecutive  octaves.  All 
the  remarks  which  have  been  madi;  in  reference  to  consecutive  fifths,  also 
apply  to  consecutive  octaves. 

In  Exercise  No.  1,  Chap.  XV.  (pnge  30,)  consecutive  octavos  occur  in 
the  following  chords,  viz.  in  tliL-  3d  and  1th  chords,  between  the  treble  and 
base;  in  the  5tli  and  0th,  and  t'.c  lOth  and  11th  chords,  between  the  alto 
and  ba.se;  and  in  the  15th  and  It  th,  and  the  18th  and  19th  chords,  between 
the  treble  and  tenor. 

In  Exercise  No  G,  Chap.  XIIT,  (page  2.5,)  consecutive  octave.s  are  avoided 
in  the  second  and  third  chords,  by  the  irregular  position  of  the  third  chord,  i.e., 
if  the  third  chord  had  been  written  in  the  regular  second  position,  the  alto 
would  have  moved  from  G  in  the  second  chord  to  A  in  the  third  chord, 
which  would  have  been  in  consecutive  octaves  with  the  base. 

Point  out  the  chords  in  the  exercises  in  Chapters  XIII  and  XIV  in  which 
consecutive  octaves  are  avoided  by  irregular  positions. 

Write  the  chords  indicated  by  the  figured  base  in  the  following  exercise^ 
lakiiig  care  that  Rules  I  and  II  are  observed. 

Rkmakk.— In    he  exercises,  which  the  student  is  required  to  write,  when 


CONSECUTIVE    OCTAVES. 


35 


ft-ogressions  occur  like  those  of  which  examples  were  given  in  Chaptern 
XIII  and  XIV,  it  will  be  well  for  him  to  imitate  those  examples. 

Exercise  No.  1. 


^=?=^=FFr=fEH 


1 — ' ^^    r    '        ' 


^=«=Ei!E£EE:EEEEBf=tE 


6         6 

4 


mmmmm^^. 


:p:p: 


mmmmmi^mm 


6  €  6       6 

Exercise  No,  9. 


«    S 


:^-*^-t:t 


Si^^^ 


iE»EEfe£rE^:ERFE!EEEEiEEEiE-1^: 


6    e 


6  6 


6  6 


^« i-l-r 


?-: 


f^^PS^ 


its: 


1 


m'^^^^m^^s 


6  G 

4 


36  MODULATION. 


CHAPTER  XVIII. 


MODULATION. 

A  tune  or  piece  of  music  is  usually  said  to  be  in  the  key  denoted  by  i  J 
signature;  thus,  if  the  signature  is  one  s-harp,  the  tune  is  s;iid  to  be  in  tlie 
key  of  G,  &,c.  It  is  veiy  seldom  the  case,  however,  that  all  the  chords  ol 
a  tune  are  in  the  same  key.  Tlie  following  example,  according  to  the  sig- 
nature, is  in  tie  key  of  C.  A  ch)se  examination,  however,  ^hows  that  only 
the  first  and  last  three  measures  are  in  that  key.  The  third  chord,  if  in  the 
key  of  C,  would  be  the  chord  of  II.  The  chord  of  II,  however,  nuist  be  a 
minor  common  chord.  Tliis  (^kl)  chord  is  a  major  common  chord,  an«l 
consequently  is  either  the  chord  of  I,  IV,  or  V.  A  comparison  with  the 
chord  next  to  it  proves  it  to  be  t!ie  chord  cf  V,  in  the  key  of  G. 


In  the  above  example  the  1st  chord  is  the  common  chord  of  I,  in  the  key 
of  C.  The  2d  chord  is  the  common  chord  of  IV,  in  the  key  of  C.  The  3d 
chord  is  the  common  chord  of  V,  in  the  key  of  G.  The  4th  chord  is  the 
common  chord  of  I,  in  the  key  of  G.  The  oth  chord  is  the  common  chord 
of  V,  in  the  key  of  A.  'i'he  6th  chord  is  the  con)mon  chord  of  I.  in  the  key 
of  A.  The  7th  chord  is  the  common  chord  of  VII,  in  the  key  of  D.  The 
8th  chord  is  the  common  cliord  of  I,  in  the  key  of  D.  The  Oth  chord  is 
the  common  chord  of.VII,  in  the  key  of  G.  The  10th  chord  is  the  common 
chord  of  I,  in  the  key  ofG.  The  11th,  r2th,  13th,  11th,  and  loth  chords 
are  the  chords  of  Vll,  1,  IV,  V,  and  I,  in  the  key  of  C. 

When  chords  wliich  do  not  belong  in  the  key  indicated  by  the 
signature  are  introduced,  the  chords  are  said  to  modulate,  and  t!ie 
progression  is  called  a  Modul.ation. 

Rr.MARK. — Tt  i.s  not  ea.«;y  to  give  definite  direction.^  by  which  the  student 
can  infallibly  determine  in  what  key  the  modulation  !.-».  The  first  requisite 
is  always  to  determine  whether  it  is  a  major,  minor,  or  diminished  common 
chord.  If  it  is  a  major  common  chord,  it  is  either  the  cliord  of  I,  IV,  or  V  ; 
»r  if  it  is  a  minor  common  chord,    it  is  cither   the  chord  of  II,  III,  or  VI. 


MODULATION. 


37 


A  con  parison  with  the  chords  before  or  after  it,  will  generally  determine  in 
what  key  the  chord  is.  For  example,  the  third  chord  in  the  above  example 
is  a  major  common  chord,  and  is  consequently  either  the  chord  of  I  in  the 
key  of  b,  the  chord  of  IV  in  the  key  of  A,  or  the  chord  of  V  in  the  key  ol 
G.  A  comparison  with  the  chord  after  it,  renders  it  easy  to  determine  that 
It  is  the  chord  of  V  in  the  key  of  G.  If  the  chord  is  a  diminished  common 
chord,  the  key  is  of  course  infallibly  determined,  for  if  it  is  a  diminished 
common  chord,  it  is  the  chord  of  VII,  which  will  enable  the  student  at  once 
to  decide  what  the  key  is.  For  example,  the  7th  chord  in  the  above  example 
is  a  diminished  common  chord,  and  consequently  is  the  chord  of  VII.  It  is 
the  chord  of  C|r,  and  C#  is  VII  in  the  key  of  D,  consequently  the  7th  and 
8th  chords  in  the  example  are  in  the  key  of  D.  The  sharps  and  flats  form 
a  tolerably  good  guide  to  the  key.  If  F4f  is  the  letter  which  produces  the 
modulation,  it  is  tolerably  certain  that  it  is  the  key  of  G,  because  Fsf  is  the 
distinguishing  sign  of  the  key  of  G.  If  G^  is  the  letter  which  produces  the 
modulation,  it  is  tolerably  certain  that  it  is  the  key  of  A,  because  Gff  (in  con- 
nection with  F^  and  Cfr)  is  the  distinguishing  sign  of  the  key  of  A. 

A  chord  is  not  allowed  to  stand  alone  in  a  key.  At  least  one 
r*.hord,  before  or  after  it,  must  be  in  the  same  key. 

When  a  chord  has  modulated  to  another  key,  the  subsequent 
chords  are  always  in  the  same  key  with  the  modulating  chord,  until 
another  modulation  takes  place. 


17   18  19 


The  above  example  is  in  the  key  of  F.  The  6th  chord  modulates  to  the 
key  of  C.  No  other  modulation  takes  place  until  the  15th  chord,  conse- 
quently the  6th,  7th,  8th,  9th,  10th,  llth,  12th,  13th  and  14th  chords  are 
in  the  key  of  C 


Write  the  following  exercises,  and  place  over  each  chord  the  Roman  figure 
which  indicates  the  chord,  i.e.,  over  the  first  place  I,  to  indicate  that  it  is  the 
chord  of  one;  over  the  second  place  IV,  to  indicate  that  it  is  the  chord  o 
four ;  over  the  third  place  V,  to  indicate  that  it  is  the  chord  of  five,  (in  th< 
key  of  G,)  &c. 

[4] 


B8 

Exercise  No. 


MODULATION. 


?^EE!E!zEPEEFPZ:EEEE^i:PE'l 


»-r-l r+-i-ri-: 


?^i@ggi@iliiii|i;| 


Exercise  No.  2 


/ia*in=n;t^-;ri=pir3f--a_-r,:=^-r-=_=Trrfr;-;| 

\f~?5!=E?£EFzEFEEEzEEE=Eit=pTp:l:pl:I 
^EEE^LEE?EE^E!iFE5SpEFEEE5:iEr-E:-EE 


#        6      #  4^ 


Rkmaiik. — In  all  exercises  which  arc  given  for  the  student  t'l  write,  ifthe 
tieiie  and  base  are  both  printed,  (as  they  have  been  in  all  the  exercises  thui» 


DISPERSED    HARMONY. 


39 


far,)  he  lia3  only  to  add  the  two  parts  next  below  the  treble  Where  (as  in 
he  followincT  exercise,)  the  base  alone  is  given,  the  student  is  to  write  the 
'uU  chord,  (i.e.,  three  parts  on  the  treble  stuff,)  indicated  by  the  base  note. 

Write  the  chords  indicated  by  the  following  base  notes,  carefully  avoiding 
.he  vrotation  of  Rules  1  and  2. 


Exercise  No. 


CHAPTER  XIX. 


DISPERSED       HARMONY. 


When  chords  are  so  arranged  that  the  treble,  alto,  tenor  and  base 
ports,  are  each  at  their  appropriate  pitch,  they  are  said  to  be  in  Dis- 
persed Harmony. 


Remark  — Chapters  XTIT  and  XIV  gave  examples  of  some  of  ti.e  mosi 
common  progressions  of  common  chords  in  close  harmony.  The  following 
are  principally  the  same  progressions  arranged  in  dispersed  harmony. 

Practice  the  following  exercises  upon  the  pianoforte,  in  the  keys  of  C,  G, 
D,  A,  K,  B,  F^,  G[),  D\),  A\),  E[-),  B\),  and  F,  continuing  the  practice 
until  the  ability  to  play  them  fluently  from  memory  in  every  key  is  attained 

Remark  — If  the  student  cannot  reach  the  two  notes  which  form  the  in- 
terval of  a  tenth  in  the  first  and  last  chords  of  each  third  position,  he  can 
play  the  base  note  of  those  chords  an  octave  higher. 


-F- 


mmmm^mmi^ 


40 


DISPERSED    HARMONY. 


EXEKCISE   No.   3. 


(fc=iJ=^3^E?E*EfeE^fFEEEpE?E^i 

(  I  IV  I  V  I  .0.     .0        ^  .M. 


IV     I      V 

-i — »   [- — p~t* 


\ — i — 

i 

-r- 

Ei 

Efe 

*^ 

iiiiiS 


Exercise  No.  4. 


4-l-4~i'-T-,— ,•■ 


1     I 

I      IV 


--EEEEE='"' 


Exercise  No.  5. 


r— •-- L-p- 

1 
^       I 

r" 

I — Jzr 

r" 


~^E^E^E^EteSEPE|EP:fe^ 

12        3         11 

?EEPE^EE^EfEPpEE^E?Ep';B 


DISPERSED    HARMONY. 


41 


Exercise  No.  6 


i  I  I  I  !  I  J  I  ' 


—0- 


1 
III 


1 
IV 


-£ — ^ — I f — E — I" 


_        P — ?? — # — «- 


f— •—! 


^ 1 1 i r 


^ 


I^EEEEEE^EIE^EEEEEEEErEEEEEEEZf! 

4  4 


If 

i 


E 

/ 

1 
( 

XERCISE    No.    7. 

F5-i5=2=;f; 

1          2         3          J          1          2          ]          1 
I       II       I        V       VI      11       V        I 

6          4 

t-Sz::E=:?=;«: 

iiiili 

4 

-i — -1—1 — -p- 


:SEt 


v-:c~.r: 


f-       ^  /-  ^-  f -  -5-_E  f : 
"i —      r" 


;r; 


[4«] 


12 


CONSECUTiVE    UNISONS. 


Revark. — The  successions  of  common  chords  given  in  tin  preceding  ex- 
ercise, are  such  as  occur  most  frequently  in  all  kinds  of  music.  They  are 
consid;red  the  best  positions  for  the  four  parts,  in  the  three  pf)sitions.  It  is 
not  possible  always  to  retain  these  positions  in  musical  compositions,  but 
composers  generally  prefer  these  when  they  can  he  taken  without  violating 
the  rules.  The  design  of  requiring  the  student  to  become  perfectly  familiar 
with  these  exircises  in  all  the  keys,  is,  that  he  may  never  be  at  a  loss 
with  regard  to  the  most  desirable  positions  in  which  to  arrange  thi  se 
chords      For  example,    if  he   wishes   to  arrange  in   dispersed  harmony  ilie 

ci.nrds  III,. IV,  the  best  possible  poitions  are  those  in  Exercise  No.  G.     II 

he  wishes  to  arrange  the  chords  V,  VI,  the  be*t  possible  positions  are  those 
1  Exerci-e  No.  7.  If  he  has  practiced  the  exercises  according  to  the  direc- 
tions, he  is  already  perfectly  familiar  with  all  the  best  positions  of  these 
chords. 


CHAPTER  XX. 

CONSECUTIVE    UNISONS.    -LEADING    NOTE. 

When  two  parts  sing  the  same  tone  they  are  said  to  be  in  Unison. 

Rule  III. —  Tv:o  paj'ts  which  are  innnison  u,.th  each  other  in  a 
chord,  must  not  be  in  tmisoji  with  each  other  in  tlie  next  chordo. 

Remark. — This  is  commonly  Ca..'ed  the  rule  o'' consecutive  uni'^ons,  (oi 
consecutive  primes).  All  the  remarks  in  relation  to  consecutive  fifths  and 
octaves,  also  apply  to  consecutive  unisons. 


1        2       3        4       5       G 


10      11     12     13     14      15 


;ir-px=-=p-|=r 


:iE&il^EiE»E-j:|E35-a=^J§_E^ 


Treble. 


I 1 1 1 — H •— « — » 


n — n i"T — ci~i 1 — »■ 


Baae 


i'^': 


mw 


^^igiiigii^i^ii 


LEADING    NOTE.  43 

In  the  Qd  chord  of  the  (receding  example  the  tenor  and  base  are  in  uni- 
Bon,  and  these  two  jj  irts  ^re  also  in  unison  in  the  3d  chord,  consequently 
the  tenor  and  base  form  consecutive  unisons  in  the  2d  and  3d  chords.  The 
treble  and  alto  form  consecutive  unisons  in  the  Gth  and  7lh  chords,  and  the 
alto  and  tenor  form  consecutive  unisons  in  the  9th  and  10th  chords. 


Remark. — When  a  part  does  not  ascend  or  descend,  but  remains  upon 
(he  same  degree  of  the  scale,  it  is  not  considered  as  possessing  motion,  con- 
sequently in  such  progressions  Rules  1,  2  and  3  cannot  be  violated.  In  the 
11th  and  12th  ciiords  of  the  foregoing  e:;ample  the  tenor  an  ii  base  are  in 
uni.son,  but  as  thb/  remain  stationary  upon  the  same  degree  of  the  scale,  the 
rule  is  not  violated. 


VII  of  the  scale  is  called  the  Leading  Note. 


Leading  Note  Leading  Note  Leading  Note 

in  the  key  of  C.  in  the  key  of  G.  in  the  key  of  D. 

liifl  liiiP  piii- 

VII.  VII.  VII. 

Rule  IV. —  The  part  which  sings  the  leading  note,  in  the  next 
chord  must  si,ng  the  next  tone  above  the  leading  note. 

In  Exercise  No.  3,  Chap.  XIV,  (page  27,)  the  part  which  has  B  in  the 
fourth  chord,  has  C  in  the  fifth  chord,  to  avoid  violating  this  rule. 

Remark. — Some  rules  are  considered  of  more  importance  than  others. 
The  rule  of  the  leading  note  is  one  of  the  least  importance,  or,  in  other 
words,  it  is  one  which  may  be  broken  when  there  is  a  good  reason  for  violating 
it.  Most  composers  hold  that  the  rule  of  consecutive  fifths  (Ride  No.  1,) 
must  never  be  violated.     In  Exercise  No  2,  Chap.  XIV,  (page  27,)  in  the 

progression  III,  IV,  either  Rule  No.  1  or  Rule  No.  4  must  be  violated,   for 

if  the  part  which  has  the  leading  note  (B)  in  the  chord  of  III,   should  have 

the  next  note  above  the  leading  note  (C)  in  the  chord  of  IV,  the  treble  and 
base  would  form  consecutive  fifths.  Rule  No.  1  being  considered  of  much 
more  importancf;  than  Rule  No.  4,  it  is  observed,  and  Rule  No.  4  is  vio* 
Jated. 


44  DIMINISHED    COMMON    CHORDS. 


CHAPTER  XXI. 

DIMINISHED    COMMON    CHORDS. 

Chords  which  produce  a  pleasant  sensation  to  the  ear  are  callca 

IJONCORDS. 

Chords  which  produce  an  unpleasant  sensation  to  the  ear  are 
called  Discords. 

Major  and  minor  common  chords  are  concords. 
Diminished  common  chords  are  discords. 

Remark. — The  term  "  Discord,  '  as  it  is  used  in  harmony,  has  two  signi- 
fications, sometimes  applying  to  the  whole  chord,  (signifying  that  the  effec 
produced  by  the  chord  is  unpleasant,)  and  sometimes  applying  to  the  single 
part  of  the  chord  which  produces  the  unpleat-ant  effect.  For  example,  the 
diminished  common  chord  is  called  a  discord,  because  the  sound  produced 
when  that  chord  is  played  or  sung,  is  unpleasant.  It  is  the  tone  which  forms 
the  interval  of  a  diminished  fifth  from  the  fundamental  note,  however,  which 
jiroduces  the  unpleasant  effect,  consequently  this  tone  is  called  /Ac  discord. 
That  this  is  the  tone  which  produces  tho  unpleasantness,  may  be  readily 
seen,  by  substituting  for  the  tone  which  forms  a  diminished  fifth  with  the 
fundamental  note,  one  which  forms  a  perfect  fifth.  The  unpleasant  sensation 
will  disappear,  and  the  chord  will  become  a  concord,  (a  minor  common 
chord). 

Rules  relating  to  the  progression  of  discords,  apply  to  the  single 
part  of  the  chord  which  produces  the  discordant  eftect,  and  not  to 
the  entije  chord. 

The  tone  which  produces  the  discordant  effect  is  allowed  to  move 
only  one  degree. 

There  are  three  varieties  of  discords. 

Discords  of  the  first  class  produce  only  a  slightly  unpleasant 
effect.  In  discords  of  this  class  the  tone  which  produces  the  discor- 
dant effect  is  allowed  to  ascend  or  descend. 

Discords  of  the  second  class  produce  a  harsher  effect  than  those 
of  the  first  class.  In  discords  of  this  class,  the  tone  Avliich  })roduccs 
the  discordant  effect  is  allowed  only  to  descend. 

Discords  of  the  third  class  jjroduce  a  very  harsh  eflcct.  In  dis- 
cords of  this  class,  the  tone  which  produces  the  discordant  effect 
requires  a  preparation,  and  is  allowed  only  to  descend. 


DIMINISHED    COMMON    CHORDS.  45 

Remakk — The  expression,  "  the  tone  is  allowed  to  move,  &.C.,"  strictly 
Bpeaking,  is  incorrect,  inasmuch  as  a  tone  cannot  move.  It  is  an  expression, 
however,  commonly  used  in  harmony,  for  brevity's  sake.  The  meaning  is, 
that  "that  part  (base,  treble,  &c.,)  which  sings  the  tone  which  produces 
the  discordant  effect,  must  move,  &c."  In  other  words,  "  the  part  which 
has  the  tone  which  produces  the  discordant  effect,  in  the  next  chord  must 
have  the  tone  next  above  or  below  it,"  (as  the  case  may  be).  It  is  also 
common  to  say,  "  tlie  fifth  mu.-t  move  so  and  so,"  "the  seventh  must  mcive 
so  and  so,  &c."  These  expressions  are  literally  incorrect,  but  they  will 
nevertheless  be  used  in  this  work  for  the  sake  of  brevity.  It  will  therefore 
be  understood  that  the  expression  "  the  fifth  must  move,"  &.c.,  &c.,  means 
"  that  the  part  which  sings  the  tone  which  forms  the  interval  of  a  fifth  from 
the  fundamental  note  of  a  chord,  must  move,"  &c.,  &,c.  In  other  words, 
tlie  part  which  has  the  tone  which  forms  the  interval  of  a  fifth  (&c.)  from 
the  fundamental  note  of  a  chord,  must  in  the  next  chord  have  the  tone  next 
above  or  below  that  tone. 

Rule  V. —  The  diminished  fifth  must  move  but  one  degree^  ascend- 
in  <i  or  dei>ce}iding. 

The  diminished  fifth  is  a  discord  of  the  first  class.  It  produces  but  a 
sligiuly  harsh  or  unpleasant  effect,  and  is  therefore  allowed  to  ascend  or 
descend.  Discords  of  the  second  and  third  classes  are  allowed  only  to  descend. 
The  meaning  of  Rule  V  is,  that  that  part  which  sings  the  tone  which  forms 
the  interval  of  a  diminished  fifth  from  the  fundamental  note,  in  the  next 
chord  must  sing  the  tone  next  above  or  next  below  it. 

The  exercises  in  the  previous  chapters  have  contained  only  major  and 
minor  common  chords,  i.e.,  only  the  chords  of  I,  II,  III,  IV,  V,  and  AT, 
have  been  employed.  It  will  now  be  necessary  to  become  familiar  with  the 
most  common  progressions  of  the  chord  of  VII.  This  is  a  diminished  con. 
mon  chord,  and  contains  a  diminished  fifth.  As  its  fundamental  note  is  the 
leading  note,  the  progression  of  this  chord  is  much  circumscribed,  for  its 
fundamental  note  can  only  ascend  according  to  the  Rule  of  the  leadincr  note, 
(  Rule  4.)  and  its  fifth  can  only  ascend  or  descend  according  to  the  Rule  o( 
the  diminished  fifth,  (Rule  5.) 

Practice  the  following  exercises  (except  those  printed  in  small  rotes,) 
in  all  the  keys. 


Exercise  No.   1. 


1         1 

VII.        I 


J:^=i 


46 


DIMINISHED    COM-MON    CHORDS. 


FiXXBCiss  No.  2. 


111 


VII.      I. 


M^=Ef 


s 


VII.  I. 


ii=i 


Exercise  No.  3. 


pil 


VII. 


t==,SEElEJ=S=E^EE[f 


ExExlCISE   No.    4 


:t=b 


VII.  .       I. 


i 


i^=iliL^Ei^EE=fPiHil 


|^]XEIICISE  No.   5. 


(* 


-H- 

— « — 

VII.       I. 


iiiiiii, 


Miiliiiiilli 


[iEjEEE3 


VII 


^iprs 


DIMINISHED    COMMON     CHORDS. 


47 


JKEMAUK. — It  will  be  readily  seen  that  in  all  discords  the  motioi  Df  one  or 
more  of  the  parts  is  circumscribed.  The  number  oppositions,  (regular  knd 
ir;egular,)  in  which  chords  may  be  arranged  is  very  great,  but  each  common 
chord  h-is  but  three  forms.  In  the  foregoing  exercises,  examples  are  given 
of  each   form  of  tlie   chord  of  VII,  going  to  each  form  of  the  chord  of  I, 

miking  in  all  nine  progressions,    viz.,   (1)  the  chord    of  VII,  going  to  the 

ch  ird  of  I ,   (2)  the  chord  of  Vll,  going  to  the  chord  of  I ;  (3)  the  chord 

3  1  1 

of  VII,  going  to  the  chord  of  I ;  (4)  the  chord  of  VII,  going  to  the  chord 

2  2  2  ^ 

of  I ,   (5;  the  chord  of  VII,  going  to  the  chord  of  I ;   (6)  the  chord  of  VII, 

2  1  3 

going  to  the  chord  of  I ;  (7)  the  chord  of  VII,  going  to  the  chord  of  I ;   (8) 

2  3  3  . 

the  chord  of  A'll,  going  to  the  chord  of  I ;   (9)  the  chord  of  VII,  going  to 

3 
the  chord  of  I. 

The  following  is  a  tabular  view  of  these  nine  progressions  : — 


1 
VII 

VII 

2 

i 

1      1 

VII 

3 

I 

o 
VII 

1         ^ 
1      VII 

2 

I 

2 

vli 

3 

I 

3 
VII 

A 

i 

1         3 
VII 

3 

I 

Two  positions  of  each  of  the  foregoing  progressions  are  given  in  the  exer- 
cises on  pages  45  and  46.  Although  many  more  positions  are  possible,  if 
the  student  practices  these  two  thoroughly  in  every  key,  he  will  make  him- 
pelf  familiar  with  the  best  positions  for  the  progression  VII,  I.  The  pro- 
gression VII  I,  in  these  exercises  is  printed  in  small  notes,  because  it  can- 
not be  made  without  violating  Rule  5,  as  in  this  progression  the  diminished 
fifth    (which  is  the  base  note)  would  be  compelled  to  descend  four  degrees, 

.12 
whi.e  the  rule  requires  it  should  descend  only  one.  The  progression  Vil  I 
is  printed  in  small  notes,  because  it  cannot  be  made  without  violating  Rule 
4,  as  in  this  proo;ression  the  leading  note  would  be  compelled  to  ascend  four 
decrrees,  while  the  rule  requires  it  should  ascend  but  one.     The  progression 

1      3 
VII  i  is  printed  in  small  notes,  because  it  cannot  be  made  without  violating 

Rule  \. 


3 
VII 


Remark. — The  progression  Vll  1,  in  the  exercises',  is  printed  in 
small  notes,  because  although  not  strictly  in  violation  of  rule,  it  is  consi- 
dered best  that  the  diminished  fifth  should  descend  when  it  is  in  the  base, 


48  THIRD    FORMS. DIMINISHED    FIFTHS. 

The  natural  progression  of  all  discords  is  downwards,  and  although  the 
diminished  fifth  is  allowed  also  to  ascend,  in  consideration  of  the  fact  that  it 
produces  hut  a  slightly  discord.^nt  effect,  it  is  not  deemed  advisahle  that  it 
should  avail  itself  of  this  lihc.cy  when  it  is  the  base  note. 

Remark  — Discords  are  allowed  to  move  but  one  degree.  When  it  is 
aid  that  a  discord  may  ascend  or  descend,  the  meaning  is  always  that  it 
may  ascend  or  descend  one  degree  only.  The  term  "  discords  are  allowed 
to  move,  «Sic.,''  is  a  term  common  in  harmony,  although,  strictly,  incorrect. 
It  means,  "  the  Dart  which  produces  the  discordant  effect  may  move,  &c." 


CHAPTER  XXn. 


THIRD    FORMS. DIMINISHED    FIFTHS. 

Common  chords  are  composed  of  three  letters.  In  four  part  com- 
positions one  of  the  letters  must  be  repeated,  or  doubled,  (either  in 
octaves  or  in  unison). 

In  most  cases  it  is  not  material  which  letter  is  doitl'cd,  but  in 
some,  the  one  which  must  be  doubled  is  prescribed  by  rule. 

RuleYI. — When  the  common  chord  of  I  is  in  the  third  form,  the 
fifth  of  the  chord  must  be  doubled,  and  the  parts  which  have  the  fiin- 
damcntal  note  and  tltird  must  descend  one  degree. 


liilpliiiiil 

8  1  3  1 

I  V  I  V 


3     . 

In  the  first  measure  of  the  above  example,  the  chord  of  I  is  written  in 
close  harmony.  G  is  the  fifth,  and  there  are  two  Gs  in  the  chord,  one  in 
the  base  and  one  in  the  alto.  The  treble  part  is  the  fiindamental  note,  and 
in  moving  to  the  next  chord  it  descends  one  degree;  the  tenor  i»  the  third, 

and  it  descends  one  degree.  In  the  second  measure  the  chord  of  I  is  writ- 
teji  in  dispersed  harmony.  The  tenor  is  the  fundamental  note,  and  it 
descends  one  degree;  the  treble  is  the  third,  and  it  descends  one  degree; 
the  base  and  \lto  are  both  the  fifth,  which  is.  therefore,  doubled 


THIRD    FORMS. DIMINISHED    FIFTHS.  49 

Remauk. — A  common  chord  in  the  first  form  produces  a  pleasanter  (or 
more  concordant)  effect  than  the  same  chord  in  either  the  second  or  third 
•orms.  A  common  cliord  in  the  second  form  produces  a  le.^s  concordant 
k  ffect  than  the  same  chord  would  produce  in  the  first  form,  and  some  liber- 
ties are  allowed  to  the  second  forms  of  common  chords  which  are  not 
allowed  to  the  same  chords  in  i\ie  first  and  third  forms.  A.  common  chord 
in  the  third  form  produces  a  much  less  concordant  effect  than  is  produced  by 
the  same  chord  in  iha  Jirst  fonri,  and  is  also  less  concordant  than  the  same 
chord  in  the  second  form,  so  much  so,  that  by  some  authors  a  common  cliord 
in  the  third  form  is  considered  a  discord.  These  remarks  apply  to  the  effect 
produced  by  a  chord  when  played  alone,  by  itself,  and  not  to  effects  pro- 
duced by  the  progression  of  chords.  Although  Rule  6  applies  to  the  third 
form  of  the  chord  oi  one,  careful  composers  apply  it  to  the  third  forms  of  all 
the  common  chords  ;  and  it  is  recommended  to  the  i^tudent,  in  writing  the 
exercises  in  this  work,  to  observe  the  rule  in  reference  to  the  third  form  ol 
all  the  clifirds,  unless  the  construction  of  the  exercise  renders  its  observance 
impossible. 

Wkeii  a  part  ascends  or  descends  one  degree  in  obedience  to  a 
rule,  it  is  said  to  Resolve. 

When  a  chord  is  repeated,  or  when  the  tone  requiring  a  resohition 
is  repeated  in  a  different  chord,  the  resolution  is  not  required  to  take 
place  until  a  chord  is  taken  which  does  not  contain  the  tone  requir- 
ma:  a  resolution. 


In  the  first  measure  in  the  above  example,  the  first  chord  contains  a  lead 
iug  note  and  a  diminished  fifth,  both  of  which,  according  to  Rules  4  and  5, 
require  a  resolution.  Neither  resolves,  however,  because  the  second  chord 
ss  a  repetition  of  the  first,  in  a  different  postion,  and  both  leading  note  and 
diminished  fifth  appear  in  it  again.  The  third  chord. does  not  contain  either 
the  leading  note  or  diminished  fifth,  so  in  passing  from  the  second  to  the 
third  cliords,  they  both  resolve  according  to  the  rules.  In  the  second  mea- 
sure the  leading  note  appears  in  the  first  chord,  in  the  chord  of  V,  and  again 
in  the  second  chord,  in  the  chord  of  III.  It  is  not,  therefore,  required  to 
resolve  in  passing  from  the  first  to  the  second  chords.  It  does  not  appear  in 
the  third  chord,  so  in  passing  from  the  second  to  the  third  chord  it  r(  solves 
according  to  the  rule. 

[5] 


50 


THIRD    FORMS. DIMINISHED    FIFTHS. 


Exercise  H^o. 


!    !   ^    1 


I    !   ^  I   J    f   ^ 


1        2         1 

VI    II      V 


?=Rr: 


6      6 


1    !    !   ^ 


I     5     ^    ^     J     !     ^   >^l    fl     ^r 


•E-^E^'E-E=E§^E-Eg?E"E=^F 


3    # 


6       «       #      # 


^   1    !    I   1    1    1    V  I  li  fi  n   !    ^    1 

:jE*EiEEEE!E'EEEEEEEEEcEE 


fi  6  b        b        •; 

4  4  4- 

Write  the  chords  indicated  by  the  foregoing  base  notes,  in  close  harmony. 
It  will  be  noticed  that  the  5th,  Gth,  7th  and  8th  measures  are  in  the  key  ot 
G,  all  the  others  being  in  the  key  of  C.  In  this  and  all  other  exercises 
which  tlie  student  is  required  to  write,  he  should  endeavour  to  place  the 
chords  in  such  positions  that  when  played  the  exercise  will  sound  well.  For 
example — 


-E^EjE3EfflEM=rg=fE:FpB=E 


&C 


In  writing  the  above  exercise,  carefully  observe  all  the  rules,  particularljr 
Rule  6.  After  writing  the  exercise  in  close  harmony,  write  it  also  in  din- 
persed  harmony. 

Rule  VII. — A  jjcrfect  fifth  must  not  follo7v  a  d'wiinished  fifth,  in 
iiinilar  mntioHy  unless  the  chord  containing  the  perfect  fifth  is  in  ttu 
second  form. 


THE    MINOB    SCALE.  51 

In  the  foregoing  rule,  one  of  the  expressions  commonly  used  in  harmony 
for  the  sake  of  brevity,  is  employed.  It  means  that  if  in  a  chord  two  parts 
form  diminished  fifths  with  each  other,  the  same  two  parts  must  not  form 
|)erfect  fifths  with  each  other  in  the  next  chord,  if  they  progress  in  similar 
motion,  unless  the  chord  which  contains  the  perfect  fifth  is  in  the  second 
form.  It  will  be  seen  that  this  is  a  kind  of  consecutive  fifths,  somewhat  dif- 
ferent from  those  prohibited  by  Rule  No.  1.  Observe  that  this  rule  does 
not  forbid  a  diminished  fifth  from  following  a  perfect  fifth,  nor  a  diminished 
fifth  from  following  a  diminished  fifth. 

Wrong,  Right  Right.  Right, 


In  each  chord  in  the  above  example,  the  treble  and  tenor  form  fifths  with 
each  other.  In  the  first  measure  a  perfect  fifth  follows  a  diminished  fifth, 
but  it  is  wrong,  because  the  chord  which  contains  the  perfect  fifth  is  not  in 
the  second  form.  In  the  second  measure,  a  perfect  fifth  follows  a  diminished 
fifth,  and  it  is  right,  because  the  chord  which  contains  the  perfect  fifth  ia 
in  the  second  form.  In  the  third  measure  a  diminished  fifth  follows  a  perfect 
fifth,  and,  in  the  fourth  measure,  a  diminished  fifth  follows  a  diminished 
fifth,  neither  of  which  progressions  are  forbidden. 


CHAPTER  XXIII. 

THE    MINOR    SCALE. 

A  second  a  half  step  greater  than  a  major  second  is  called  a 
Superfluous  Second. 

A  third  a  half  step  smaller  than  a  minor  third  is  called  a  Dimin- 
ished Third. 

A  fourth  a  half  step  smaller  than  a  perfect  fourth  is  called  a  Di- 
minished Fourth. 

A  fifth  a  half  step  larger  than  a  perfect  fifth  is  called  a  Super- 
fluous Fifth. 

A  sixth  a  half  step  larger  than  a  msyor  sixth  is  called  a  Supeb" 
rLUOus  Sixth. 


52 


THE     MINOR    SCALE. 


A  seventh. a  half  Step  smaller  than  a  minor  serenth  is  called  a 
Diminished  Seventh. 

A  series  of  seven  tones,  so  arranged  that  the  interval  from  the 
first  to  the  second  tone  is  a  major  second,  from  the  second  to  the 
third  a  minor  second,  from  the  third  to  the  fourth  a  major  second, 
from  the  fourth  to  the  fifth  a  major  second,  from  the  fifth  to  the 
sixth  a  minor  second,  and  from  the  sixth  to  the  seventh  a  super- 
fluous second,  is  called  the  Minor  Scale. 

Remark. — It  is  customary  to  express  the  word  "  minor,"  when  speaking 
of  a  minrir  key,  (thus,  key  of  C  minor,  key  of  G  minor,  &,c. ;)  but  it  is  not 
usual  to  express  the  word  "  major"  when  speaking  of  a  major  key.  The  term 
"key  of  C,"  &c  ,  is  understood  to  mean  the  "  key  of  C  major,"  &.C., 
although  the  word  '*  major"  is  not  ex{ 


Kay  of  A  minor.  Key  of  E  minor.  Key  of  B  minor. 


Key  of  F?r  minor. 


Key  of  C4r  minor. 


Key  of  A^  minor. 


Key  of  E^  minor. 


Key  of  B#  minor.  Key  of  Fx  minor. 


/  THE    MINOR    SCALE.  53 

Key  cf  CX  minor.  Key  of  Gx  minor. 


Key  of  D  minor. 


-•-^*-^5 


Key  of  G  minor. 


Key  of  C  minor. 


Key  of  F  minor. 


Key  of  Bb  minor.  Key  of  Ef?  minor. 


Fb:5Tzz= 


-^*- 


Key  of  At)  minor.  Key  of  Df?  minor. 


'^'^^=^^^^E??: 


Key  of  G[?  minor. 


Key  of  Ct>  minor. 


-^-»^!5#- 


Key  of  Ft)  minor.  Key  of  B^b  minor. 


[5] 


64  THE    MINOR    SCALE. 

What  is  the  sifriiafure  of  the  key  of  A  minor?  A  flat  minor?  A  shar| 
minor?  B  minor  ?  Bflatniinor?  B  double  flat  minor  ?  B  sharp  minor 
C  minor  '  C  flat  minor  Y  C  sliarp  minor?  C  double  sharp  minor?  B 
minor?  D  flat  minor?  D  sharp  minor?  E  minor?  E  flat  minor?  E 
sharp  minor?  F  minor  ?  F  flat  minor  ?  F  sharp  minor?  F  double  sharp 
minor?  G  minor?  G  flat  minor  V  G  sharp  minor?  G  double  sharp 
minor  ? 

What  key  formed  by  the  ust;  of  flats  is  the  same  as  the  key  of  A  niinor? 
Csee  page  iiO  )  B  minor?  Brf  minor?  C^  minor?  CX  mmor;'  D#  minor? 
E  minor?     Efr  minor?     F:fr  minor?     Fx  niinor?     G:fr  niinor'     Gx  niinor? 

W^liat  key  formed  by  the  use  of  sharps  is  the  same  aa  the  key  of  A  minor? 
A [j  minor?  Bj)  minor?  Bl;|?  minor?  C  minor?  C()  minor?  D  minor? 
})\)  niinor?      E,\)  mim  r?      F  minor?     F\)  minor?     G  minor?     G[)  miiu^r? 

Double  flats  are  always  represented  by  two  single  flats  placed 
together  (bb). 

Double  sharps  are  sometimes  represented  by  two  single  sharps 
placed  together  {^^),  and  sometimes  by  a  cross  (x),  it  is  immaterial 
which. 

VII  of  the  minor  scale  must  always  be  a  half  step  higher  than 
the  signature  makes  it. 

Sharps,  flats  and  naturals,  when  placed  before  the  notes,  arc 
called  Accidentals,  to  distinguish  them  from  sharps  and  fiats  in  the 
signature. 

In  the  foregoing  examples  of  the  niinor  scales  it  will  be  noticed  that  Vil 
is  always  raised,  by  an  accidental,  a  half  step  higher  than  the  signature  would 
make  it.  This  is  done  in  the  keys  of  D  minor,  G  minor,  A  minor,  E  niinor, 
B  minor,  F^  minor,  and  Cfr  minor,  by  placing  an  accidental  sharp  (t=)  before 
it;  in  the  keys  of  Gr!^  niinor,  D:fr  minor,  A^  niinor.  Eff  minor,  an<l  Bff 
minor,  by  placing  a  double  sliarp  (X)  before  it ;  and  in  the  key  of  GX  minor, 
by  placing  a  tri|)le  sharp  (^X)  before  it.  In  the  key  of  C  minor,  F  minor. 
B\)  minor,  El)  minor,  A|)  minor,  D\)  minor,  and  Gf)  iifinor,  V[L  is  made  a 
half  step  higher  than  the  sii;nature  would  make  it,  by  placing  an  accidental 
natural  {^)  before  it,  (thus  removing  the  flat  in  the  signature),  and  in  the 
keys  of  C[)  minor,  F[)  minor,  and  B(;(;  niinor,  by  removing  tliL'  double  flul 
of  the  signature  (t^b),  and  substituting  a  single  flat  in  its  place. 

The  character  wliich  rej)resents  a  sharp  (?*)  always  deuotes  a 
tone  a  half  step  higher  than  would  be  represented  by  the  note 
before  which  it  is  placed,  if  that  note  was  in  the  key  of  C,  with  ito 
accidental  before  it. 

The  character  which  represents  a  flat  ([))  always  denotes  :i  toiw 
a  half  step   lower   than  would  be   represented  by  the  note  before 


THE    MINOR    SCALE. 


BB 


which  it  is  placvjd,  if  that  note  was  in  the  key  of  C,  with  no  acci- 
iental  before  it. 

•The  character  which  represents  a  double  sharp  (i^^  or  x)  alwayi 
lenotes  a  tone  a  whole  step  higher  than  would  be  represented  by 
he  note  before  which  it  is  placed,  if  that  note  was  in  the  key  of  C, 
ivith  no  accidental  before  it. 

The  character  which  represents  a  double  flat  (bb)  always  denotes 
a  tone  a  whole  step  lower  than  would  be  represented  by  the  note 
before  which  it  is  placed,  if  that  note  was  in  the  key  cf  C,  with  no 
accidental  before  it. 

The  character  which  represents  a  triple  sharp  (:f^x)  always  denotes 
a  tone  ^  step  and  a  half  higher  than  would  be  represented  by 
the  note  before  which  it  is  placed,  if  that  note  was  in  the  key  of 
C,  with  no  accidental  before  it. 

The  character  which  represents  a  triple  flat  (bbb) always  denotes 
a  tone  a  step  and  a  half  lower  than  would  be  represented  by  the 
note  before  which  it  is  placed,  if  that  note  was  in  the  key  of  C, 
with  no  accidental  before  it. 

Ttie  character  which  is  called  a  natural  (b),  when  it  stands  alone 
before  a  note,  always  denotes  the  tone  which  would  be  represented 
by  the  note  before  which  it  is  placed,  if  that  note  was  in  the  key 
of  C,  with  no  accidental  before  it.  When  the  character  is  placed  in 
connection  with  a  sharp  or  flat  (Iq^  or  ^b)  it  denotes  that  a  single 
sharp  or  flat  is  substituted  for  a  double  sharp  or  a  double  flat. 

In  the  above  Example,  the  fourth  note  is  C  sharp.  It  would  have  been  C 
sharp  if  the  accidental  was  not  there  ;  and  as  the  sharp  simply  denotes  a  tone 
a  half  step  higher  than  would  be  represented  by  the  note  before  which 
It  is  placed  if  that  note  was  in  the  key  of  C,  ivithout  cm  accidental  before  it, 
the  presence  of  the  accidental  does  not  affect  its  pitch.  Tn  other  words,  in 
this  case  the  accidental  is  entirely  unnecessary.  The  last  note  in  the  exam- 
pie  is  F  shar,-.  It  would  have  been  F  double  sharp  according  to  the  signa 
ure,  but  the  •'  ^.ff  "  indicate  that  a  single  sharp  is  substituted  for  a  doubl 
sharp. 

What  letters  form  the  scale  in  the  key  of  A  minor?  A  flat  minor?  A 
sharp  minor  ?  B  minor?  B  flat  minor?  B  double  flat  minor?  B  sharp 
minor?  C  minor?  C  flat  minor.'  C  sharp  minor?  C  double  sharp  minor? 
D  minoj  ?     D  flat  minor?     D  sharp  minor  ?     E  minor  ?    E  flat  minor  ?    1 


56  COMMON   cuonns  in  the  minor  key. 

pharp  minor?  F  minor  ?  F  flat  minor?  F  sharp  minor?  F  double  sharp 
minor?  G  minor?  G  flat  minor?  G  sharp  minor?  G  double  sharp 
ininor  ? 


CHAPTER  XXIV. 

COMMON  CHORDS  IN  THE  MINOR  KEY. 

Like  the  major  scale,  (as  explained  on  page  34,)  the  minor  scale 
may  be  repeated  at  a  higher  or  lower  pitch. 


===-===ET=EE=E« 


v:n 

0    r    


:^  -w  'f'  IV  V   VI  VII        I    11    III  IV    V  VI  VII 

The  interval  from  VII  of  the  minor  scale  to  I   of  the  scale  next 
above  is  a  minor  second. 


Common  Chords  of  the  Minor  Scale. 

i    ■*■  ;f/  iv^    V    VI  VII 


II   III 

The  common  chords  of  I  and  IV  are  composed  of  a  fundamental 
note,  a  minor  third,  and  a  perfect  fifth,  and  are  consequently  Minor 
Common  Chords.      [See  page  21.] 

The  common  chords  of  II  and  VII  are  composed  of  a  funda- 
mental note,  a  minor  third,  and  a  diminished  fifth,  and  ai-e  conse- 
quently Diminished  Common  Chords.      [See  page  22.] 

The  common  chord  of  III  is  composed  of  a  fundamental  note, 
1  major  third,  and  a  superfluous  fifth,  and  is  called  a  Supehfluous 
Common  Chord. 

The  common  chords  of  V  and  VI  are  composed  of  a  fundamen- 
tal note,  a  major  third,  and  a  perfect  fifth,  and  are  consequently 
Major  Common  Chords.      [See  page  21.] 

What  kind  of  a  chord  is  I   of  the  minor  scale  ? 
Ans. — A  minor  common  chord. 


PROGKESSIJ-VS    IN    THE    MINOR    MODE.  Ol 

What  kind  of  a  chord  is  IE  of  the  minor  scale?  Ill  ?  IV  ?  V  ?  VI  ? 
VII  ? 

What  chords  of  the  minor  scale  are  major  common  chords? 
Ans  — The  common  ciiords  of  V    and  VI 

What  chords  of  the  minor  scale  are  minor  common  chords?  Diminished 
common  chords?      SuperHuous  common  chords'? 

What  chords  of  the  major  scale  are  major  common  chords  ?  [See  page 
21]     Minor  common  chords V     Diminished  common  chords? 

What  chords  of  the  major  and  minor  scales  are  major  common  chords? 

Ans.— The  common  chords  of  i  ,  IV  and  V,  of  the  major  scale  ;  and  V 
and  VI    of  the  minor  scale. 

What  chords  of  the  major  and  minor  scales  are  minor  common  chords? 
Diminished  common  chords?     Superfluous  common  chords? 


CHAPTER  XXV. 

PROGRESSIONS    IN    THE    MINOR    MODE. 

"  Minor  Mode"  and  "  Minor   Key"   are   terms   used  to  denote 

music  composed   from   the   tones   of  the  mhior  scale.  "  Major 

Mode"  and  "Major  Key"  denote  music  composed  from  the  tones 
of  the  major  scale. 

Note  The  following  are  progressions  which  are  constantly  occurring 
in  minor  music.  The  student  should  transpose  each  of  them  to  the  follow- 
in<T  keys,  viz  ;— E  minor,  B  minor,  F<  minor,  C*  minor,  G^  imnor,  D^ 
mmor,  D  minor,  G  muior,  C  minor,  F  minor,  B|i  minor,  and  E[)  minor; 
^nd  practice  them  thoroughly  upon  the  piano,  until  he  is  able  to  play  thein 
readily  from  memory.  It  will  be  noticed  that  the  last  five  exercises  are  re- 
petitious, in  dispersed  harmony,  of  the  first  five. 

No    I. 


; — &- 

'-'~ji~'- 

m 

^- 

_Jl^S- 

1 

4h- 

:_•_ 
:-l=- 

-4 

e'; 

IgliiEiili 


£8 


PROGRESSIONS    IN    THE    MINOR    SCALE. 


No.  2. 


izi=n-:|:rn'— : 
- — « 2— — « --*— • — 


A-       1 


SB: 


No.  3. 


1     1     1 

I         IV        V         I 


g — ,1 1 g~r» — I 1 9-ra — i 1 — * tl- 


^E4£Ep:'Ei=j=f3EsE|EJEi:fF 


I 


No.  5. 


:^^zs^^  - 


■^»- 


'  pj: 


«--•( 


I     \^     VI     fi     I     / 


r 


iz«~rz:[z::rzT:z:*i«i3=z;[3.!zzri:*i«i:r=:i="-^:i:^a!iLr 


PROGRESSIONS    IN     THE    MINOR    MODE. 


5i 


No  6. 


}         'y         1 

^1      L 


« «__L_L. 


m 


No.  7. 


1 


mmmm 


IV 


■-^ — * — ^-T-F — » 
:zsziizzz:ziszii»iz~ 


I 


No.  8. 


iiiUPp'iiiii^giiri 


-• — i- 


£EPE:S-:^iE£ 


;g 


?^:£-p- 


— »- 


pi 


No.  9. 


ffi-^- 


I I 


iS- 


ft   ?   I    1 


■=F^S-F 


P=E^"? 


-^     « 

P 


6) 


HIDDEN    FIFTHS    AND    OCTATES. 


No.  10. 


-  ST  —i-         -J-  -•'-  -•-  J       I       .       I 


i  I  V-.  n 


I  '. 


Note. — The  above  are  the  best  positions  of  some  of  the  most  common 
progressions  in  minor  music.  If  the  student  has  followed  the  directions, 
he  is  now  perfectly  familiar  with  them.  In  future  exercises  where  these 
chords  are  employed,  the  positions  which  are  given  in  the  exercises  of  this 
chapter  should  always  be  employed  except  in  passages  where  the  rules  would 
be  violated  by  so  doing.      [See  "  Remark  "  at  the  close  of  page  28.] 


CHAPTER  XXVI. 


HIDDEN    FIFTHS    AND    OCTAVES. 


Rule  VIII. —  Tu-o  jjarts  must  not  move  to  a  perfect  fifth.,  octave 
prime,  in  similar  motion^  except  (Is/)  ichen  the  vpper  part  does  not 
skip ;  (2nd)  v:Iien  the  chord  containing  the  perfect  fifth,  octave  or 
prime,  is  in  the  second  forni,  [see  page  49  ;]  and  {3d)  icJien  the  upper 
of  the  two  parts  in  the  first  chords  ajid  the  lower  of  the  two  parts  i?i 
the  secojid  chord,  form  a  small  sevoith. 

Remark. — This  is  called  the  Rule  of  Hidden  Fifths,  Octaves  and  Primt^ 

or  Unisons).      An  unpleasant  effect  is  produced   by  jirogressions   in   which 

these  hidden  fifths,  liidden  octavos,  and  hidden  primes,  occur,  which  by  many 

is  supposed  to  be  occasioned  by  the  ear  involuntarily  supplying  the  interuie- 

Jiate   ones  in  the  progression. 


fzz^zzi,=-^=.±z,t^^j:^t 


HIDDEN    FIFTHS     AND    OCTAVES. 


61 


In  t  le  first,  measure  of  the  above  example,  it  will  be  seen,  tliat  if,  in  the 
progression  represented  by  tlie  lar^e  notes,  the  intervening  tones  (represent- 
ed by  the  small  notes,)  were  supplied,  consecutive  fifths  would  be  made  by 
the  last  three  notes  in  each  part.  In  the  second  measure  consecutive  oc- 
taves would  be  made  by  the  last  two  notes ;  and  in  the  third  measure  conse- 
cutive primes  would  be  made  by  the  last  two  notes  in  each  part. 

J^xamples  of  two  parts  moving  to  a  perfect  fifth  in  similar  mo- 
tion, which  are  right ;  or,  in  other  words,  examples  of  progression 
m  which  hidden  fifths  occnr,  which  are  correct. 


Example  No 


Example  No.  9. 


EiEEEE 


In  each  measure  of  the  treble  staff  in  the  above  examples,  it  will  be  seen 
that  if  the  intervening  tones  were  supplied,  consecutive  fifths  would  be  made, 
i.  e.,  hidden  fifths  are  produced  by  these  progressions.  In  Example  No.  1, 
the  upper  part  does  not  skip,  consequently,  according  to  Rule  VIII  the  pro- 
gression is  correct,  notwithstanding  the  hidden  fifths  which  are  produced 
by  it.  In  Example  No.  2,  the  chord  which  contains  the  perfect  fifth  is  in 
the  second  form,  which  is  one  of  the  exceptions  allowed  by  the  rule,  conse- 
quently this  progression  is  correct.  In  Example  No.  3,  the  two  parts  which 
produce  the  hidden  fifths  are  the  treble  and  alto.  In  the  first  measure,  the 
upper  of  these  two  parts  in  the  first  chord  is  F,  and  the  lower  of  these  two 
parts  in  the  second  chord  is  G,  and  G  and  F  fi)rm  the  interval  of  a  minor 
seventh.  In  the  second  measure,  the  upper  of  these  two  parts,  in  the  first 
chord,  is  C,  and  the  lower  of  these  two  parts,  in  the  second  chord,  is  D, 
and  D  and  C  form  the  interval  of  a  minor  seventh.  The  hidden  fifths  pro- 
duced in  Example  No.  3,  consequently,  come  within  the  third  exception 
stated  in  the  Rule,  and  are  therefore  correct. 


G2  THK    COMMON    CHORD    OF     II     IN'    THE    MINOR    MODE. 

In  tlie  preceding  example  hidden  fifths  occur  in  each  measure  of  the  tre  t>Ie 
stafl',  and  all  are  inc'irrect.  In  the  first  and  ^^eeond  measures  the  upper 
part  skips,  consequently  these  measures  do  not  come  within  the  first  excep- 
tion to  the  rule.  In  the  third  and  fourth  measures,  the  chords  containing 
the  perfect  fifth  are  not  in  the  second  firm,  consequently  they  do  not  come 
within  the  second  exception  to  the  rule.  In  the  fifth  and  sixth  measures, 
the  upper  of  the  two  parts,  (which  occasions  the  hidden  fif  h,)  in  the  first 
chord,  and  the  lower  of  the  two  parts  in  the  second  chord,  form  a  major 
seventh,  consequently  they  do  not  fall  within  the  third  exception  to  the 
rule. 

In  Exercise  No.  5,  page  24.  the  chord  of  F  in  the  second  measure  is  ar- 
ranged with  both  the  alto  and  tenor  on  A,  because,  if  the  tenor  had  been  on 
F,  forbidden  hidden  fifths  would  have  been  made. 


CHAPTER  XXVn. 

THE    COMMON    CHORD    OF    II    IN    THE    MINOR    MODE. 

The  ori."';  diminished  common  chord  in  the  major  mode  is  the  chord  ot 
VII.  In  the  minor  mode  the  chords  of  II  and  VII  are  diminished  common 
chords.  In  the  chords  of  VII,  in  both  modes,  the  fundamental  note  is  the 
leading  note,  and  must  consequently  ascend  one  degree.  In  the  chord  of 
II,  in  the  minor  mode,  the  fundamental  note  is  not  the  leading  note,  and  it 
is  therefc»re  at  liberty  to  move  up  or  down,  or  by  skips;  on  this  account,  al- 
though it  is  the  same  kind  of  a  chord  as  VII,  its  resolution  is  quite  different. 
The  object  of  this  chapter  is  to  make  the  student  familiar  with  the  progres- 
sions  which  can,  and  with  the  progressions  which  cannot  be  made,  with 
the  common  chord  of  II  in  the  minor  mode. 

A  tone  which  has  a  fixed  resohition  may  move  a  minor  second 
or  a  major  second,  but  must  not  move  a  superfluous  second. 

It  will  be  noticed  that  the  diminished  fifth  in  the  chord  of  II  cannot 
ascend  without  moving  a  superfluous  second,  consequently  in  the  chord  d 
II  it  cannot  ascend  or  descend  as  in  the  chord  of  VII,  but  can  only  descend. 

The  chord  of  11  can  resolve  to  the  chords  of  I,  IV,  V  and  VI.  To  fa- 
miliarise the  student  with  every  possible  progression  of  this  chord,  sucfj 
tables  as  are  described  on  page  47,  are  made  use  of  and  one  example  of 
each  progression  is  given.  'J'he  student  should  invent  at  lea.^t  two  or  three 
more  examples  of  each.  For  instance,  one  example  of  the  j)rogressioii 
h  ?  is  given,  but  many  more  in  these  forms  are  possible,  and  the  studeii 
should  write  at  least  two  or  three  more  of  thorn;  and  so  with  u  i,  ff  i.  and 
all  the  otliers 


THE    COMMON    CHORD    OF    II    IN    THE    MINOR    MODE. 


63 


1         1 

1 

2 

, 

3 

II       I 

" 

' 

II 

I 

O        J^ 

2 

o 

2 

3 

II       I 

II 

I 

11 

I 

3      1 

3 

o 

8 

3 

II     I 

" 

I 

II 

I 

;3E3: 


1  3 

II  I 

:n'==n'= 


2  1 

II       I 

_l L 


II 


? r 

w 


Cannot  be  done,  be- 
CHiise  the  filth  can- 
not resolve. 


-r 


Cannot  be  done,  be- 
cause the  fifth  can- 
not resolve. 


?- 


] 

1 

1 

o 

1 

3 

II 

V 

II 

V 

II 

V 

2 

1 

o 

2 

2 

3 

II 

V 

II 

V 

II 

V 

3 

1 

3 

o 

3 

3 

II 

V 

" 

V 

II 

V 

64 


THE    COMMON    CHORD    OF    II    IN    THE    MINOR    MODE. 


1 
II 

1 

1 

V 

i 

— ! 
— m- 

1           2 

II           V 

1            1 

I  3 

II  V 

1             1 

2          1 

II          V 

1            1 

2          2 

II          V 

■      1    ■    ■      1 

--i 1 

--m i — 

1 
1       '" 

— « •P 

-  » — -«^ 

Cannot  be  done,  be- 
cause the  filth  can- 
not resolve. 


Cannot  be  done,  be- 
cause the  fifth  can- 
not resolve. 


When,  after  a  diminished  common  chord,  a  chord  is  used  which 
does  not  contain  a  tone  to  which  the  diminished  fifth  can  resolve, 
it  (the  diminished  fifth)  is  free. 

When  a  tone  is  compelled  by  the  rules  to  move  in  a  particulai 
manner,  it  is  said  to  have  a  Fixed  Resolution.  Tones  which  art 
not  compelled  to  move  in  a  particular  manner,  are  said  to  be  Free, 

The  chords  of  IV  and  VI  do  not  contain  the  tone  Co  which  the  dimin- 
ished fifth  can  resolve,  consequently  when  the  chord  of  II  is  followed  by  the 
chords  of  IV  or  VI,  the  diminished  fifth  is  free  to  move  up,,  down,  or  by 
skips.  It  is  desirnble,  however,  to  let  it  remain  stationary  if  possible,  i.  e., 
to  let  the  part  which  sings  the  tone  which  is  the  diminished  fifth  in  the  chord 
of  II,  sing  the  same  tone  in  the  next  chord.  For  example,  in  the  first 
♦•neasure  on  page  65  the  alto  has  the  tone  which  is  the  diminished  fifth, 
(F,)  in  the  chord  of  II,  and  has  the  same  tone  (F)  in  the  next  chord. 


1 

I 

1 

2 

1 

3 

II 

IV 

II 

IV 

II 

IV 

2 

1 

2 

2 

2 

3 

II 

IV 

II 

IV 

11 

IV 

Ti 

1 

3 

2 

3 

3 

II 

IV 

II 

IV 

" 

IV 

THE    COMMON    CHORD    OF    II     IN    THE    MINOR    MODE. 


I  2 

II  IV 

m 

I 


:=f~' 


I  3 

II  IV 


II         IV 


-\—)»——'<0- 


n      IV 


1 
II 

VI 

1 

2 
VI 

1 
II 

3 
VI 

2 
II 

1 
VI 

2 
II 

2 
VI 

2 

II 

3 
VI 

3 

II 

1 

VI 

3 

VI 

3 
II 

3 
VI 

0> 


r-^- 


^— ^ 


o 

ii 

2 
VI 

! 

) 

_  i_ 

=1^:: 

— «- 

-#- 

-? 

— 1#— 
-h- 

=^= 

-1--:=5=; 


[6«] 


C5 


THE    COMMON    CHORD    OF     11    IN    THE    MINOR    MODE. 


When  the  chord  of  IT  is  followed  by  the  chord  of  VII  the  di- 
minished fifth  is  free. 

The  remark  has  already  been  made,  that  when  there  is  no  tone  in  the 
next  chord  to  which  the  diminished  fifth  can  resolve,  it  is  free,  and  the  fore- 
going remark  is  but  a  repetition  of  the  same  statement.  It  seems  necessary, 
however,  to  make  the  remark  in  the  last  named  form,  because  in  the  pr<v 
gression  from  the  chord  of  II  to  the  chord  of  VII  the  diminished  fifth 
sometimes  ascends  a  superfluous  second,  a  progression  which  is  allowed  in 
the  progression  from  the  chord  of  II  to  the  chord  of  VII,  but  is  forbidden  in 
every  other  progression. 

Write  two  or  three  examples  of  each  progression  contained  in  the  follow* 
ing  table,  and  resolve  each  chord  of  VII  to  the  chord  of  I,  as  in  the  exam* 
plea    - 


, 

1 

1 

2       1 

1 

3 

II 

VII 

II 

VII 

11 

VII 

2 

1    I 

o 

2 

2 

3 

II 

v,r| 

II 

VII 

II 

VII 

3 

. 

3 

o 

a 

3 

11 

v„ 

II 

VII 

II 

VII 

11  12  13 

II     VII     I       II     VII      I       II      VII     I 


•  —H.—^.T* »-»—•- 


2       1  2       2 

II    VII    I     II    vn    I 


i"*3Ei5ts: 


m 
— I — » 


:p=s:-zf 


km 


m—0  —a-  :i — I  - -1 


'!=S*=«R 


•  ?eId 


PRACTICAL    EXERCISES. 


67 


CHAPTER   XXVin. 


PRACTICAL    EXERCISES, 


Write  in  close  harmony  the  chords  indicated  by  the  following  base  notes, 
'Aoosing  «ach  positions  as  will  make  the  best  sounding  progressions,  or,  ia 
jther  words,  make  as  good  a  tune  with  these  chords  as  possible. 


Practical  Exercise  No.  1, 


^SS^SEiillS 


In  all  the  practical  exercises,  write  under  each  base  note  the  Roman 
figures  indicating  the  «hord.  For  example,  in  the  above  exercise,  under  the 
first  base  note  writi*  I,  under  the  second  write  V,  «fec. 


Remark. — ^The  practical  exercises  are  designed  to  put  in  practice  all  the 
Student  has  learned  previous  to  the  introduction  of  each  exercise.  They 
ehodtt  be  written  with  the  utmost  care,  and  to  be  sure  that  all  faults  ar« 
avoideJ,  it  will  be  well  carefully  to  examine  the  chords  after  they  are  writ 
ten,  and  arswer  the  following  questions  in  reference  to  eac!  : — 


S8 


PRACTICAL    EXERCISES. 


^hicb 


re 


1.  Is  it  the  right  chord?   (i.  e  ,  the  one  which  the  base  indicates.) 

2.  Is  it  the  right  form  of  the  chord? 

3.  Is  the  oliord  complete?    (i.  e.,  does  it  contain  tbo  three  letters  i 
are  required  to  form  a  common  chord  ?) 

4.  is  there  a  leading  note   in  the  chord  t    and,  if  so,  is  it  rightly 
solved  V 

5.  Is  'j  rightly  used  1     [See  page  48.] 

().     Are  consecutive  fifths,  octaves  and  primes  avoided? 

7.  Is  the  diminished  fifth  rightly  used? 

8.  Are  there  no  prohibited  hidden  fifths,  octaves  or  primes  ? 

Alter  writing  the  chords  in  Practical  Exercise  No.  1,  as  above  directed, 
write  the  same  chords  again  with  the  following  notes  for  the  upper  part  (or 
melody). 


Melody  of  Practical  Exercise  No.  I . 


glEUisilliiliElpl 


"^ 


After  this  has  been  done,  write  the  exercise  again  in  dispersed  harmony. 

As  there  will  be  many  of  these  practical  exercises  to  be  written,  it  is  very 
important  the  student  should  understand  clearly  how  they  are  to  be  done, 
and  to  guard  against  misapprehension,  Practical  Exercise  No.  1  is  written 
out  in  the  following  examples,  just  as  the  student  must  write  every  practical 
exercise. 

Practical  Exercise  No.  I,  with  the  student's  own  melody. 


irili|;liifii|?ilill|lii 

I     V    VI      II       V        I        IV      V       I       V        I      VI      IV      V         IV 

liil-Eiiiiiiiiliililiiei 

^V        I      IV      U    V      VI    IV     VII  V    in    I      VI   IV    II    V       I 


PRACTICAL    EXERC  ISES. 


69 


Practical  Exercise  No.  1.     Given  Melody. 


;5:fc£Ep|Ej±p 


l^ilplipig^Piil 


^|I:|i5:E5-S:l:SzfI:iz5: 


■pi— 

II    V      VI    IV     VII  V     III    I      VI  IV      II    V 


Practical  Exercise  No,  1  in  Dispersed  Harmony. 

I        I        I        I        r        , III 


■d-^-cil 


E:EEf£E?E[SE^E=yjE=EEEEErEFFtEp! 

J       j       i        J        J        1  .  I  I  •  . 

t-^^'-r4-i-r-!~n-r-l^-F-'^T^'^'T-i'-^'T»'^-F^F:FI- 


Whether  the  Practical  Exercises  are  written  in  close  or  dispersed  harmo- 
ny, the  four  tones  which  compose  each  chord  are  to  be  considered  as  treble, 
aito,  tenor,  and  base,  as  really  as  if  wri'ten  upon  four  staves.  It  will  be 
leen  that  the  student  is  to  write  each  Practical  Exercise  three  times.  First, 


70  PRACTICAL    EXERCISES. 

IS  at  A,  making  his  own  choice  of  positions,  i.  e.,  making  whichever  tone 
uppermost  he  pleases ;  or,  in  other  words,  choosing  his  own  melody.  This 
arrangement  of  each  exercise  will  hereafter  be  called  "  Umn  Melody." 
Second,  as  at  B.  In  this  arrangement  the  author's  arrangement  of  the  pu- 
Bitions  of  the  chords  is  taken,  i.  e.,  the  author's  melody  is  adopted.  This 
arrangement  of  each  exercise  will  hereafter  be  called  "Given  Melody." 
Third,  as  at  C  Here  the  chords  are  in  the  same  positions  as  at  |S,  but 
are  arranged  in  Dispersed  Harmony. 

Remark. — At  /\  the  treble  s'afFis  to  be  supposed  to  be  occupied  with  the 
chords  :is  arranged  by  the  student  Under  both  the  Own  Melody  and  the 
Given  Melody,  the  student  is  to  write  the  Roman  figures  indicating  th'  name 
of  the  chord,  as  in  the  Examples  A  and  B.  It  will  be  noticed  that  tlie 
eighth  and  ninth  chords  are  in  the  key  of  G,  the  t.-nth,  el.venth.  &c..  in  the 
key  of  A  minor,  &-c  If  the  student  finds  any  ditficulty  in  placing  the  Rn- 
man  figures  under  the  chords,  he  should  thoroughly  review  Chapter  XV ill. 

Write  Practical  Exercise  No  2  with  Own  Melody,  carefully  placing  the 
Roman  figures  under  each  chord. 

Practical  Exercise  No  3. 

After  writing  and  carefully  examining  the  above  exorcise  by  the  questioua 
on  page  68,  write  it  again  with  the  Given  Melody. 

Melody  of  Practical  Exercise  No.  2. 

L- 1 — ' •-, — '^ — '  I '  ( — ^  -'-j — 1 — ' ' » -*- 


After  writing  and  carefully  examining  the  exercise  as  written  with  Given 
Milody,  write  it  again  in  Dispersed  Harmony. 

Remark. —  Tt  will  be  seen  that  in  Example  C  the  base  is  sometimes  taken 
fcn  octave  lower  than  it  is  in  Examples  \  ;uid  It.    In  arranging  the  Disi>er*- 


COMMON'    CHORD    OF    111    IN    THE    MINOR    MODE.  71 

ed  Harmony  the  student  will  sometimes  find  it  necessary  to  place  the  base 
an  «)ctave  lower,  and  will  perhaps  occasionally  be  obliged  to  vary  from  the 
Given  Melody,  i.  e.,  occasionally  he  may  find  that  progressions  which  will  be 
right  in  Close  Harmony,  will  violate  some  rule  if  written  in  Dispersed  Har- 
mony. 

After  writing  the  above  exercise  in  Dispersed  Harmony,  examine  it  with 
the  utmost  care,  by  the  questions  on  page  68. 


CHAPTER  XXIX. 


COMMON    CHORD    OF    III    IN    THE    MINOR    MODE. 

The  superfluous  common  chord  is  a  very  harsh  discord.  The  tone  which 
forms  a  superfluous  fifth  with  the  fundamental  note  produces  the  harshness. 
"See  Remarks  in  relation  to  the  diminished  fifth,  on  page  44.] 

The  superfluous  fifth  is  a  discord  of  the  third  class.  It  must  be 
prepared,  and  must  ascend  one  degree. 

Whenever  VII  of  the  minor  scale  is  the  tone  which  is  the  discord 
m  any  chord,  it  must  resolve  by  ascending  one  degree. 

Note. — VII  of  the  minor  scale  cannot  descend  without  descending  a  su- 
p  rfluous  second,  and  discords  are  allowed  to  move  only  a  minor  or  a  major 
second,  [see  page  62,]  consequently  whenever  this  tone  is  the  discord,  it 
citnnot  descend,  and  therefore  must  resolve  by  ascending.  On  page  44  dis- 
cords of  the  third  class  are  described  as  being  allowed  only  to  descend.  VII 
o{  the  minor  scale  is,  of  course,  an  exception  to  this  rule. 

A  tone  which  requires  a  preparation  must  appear  as  a  concord  in 
the  previous  chord,  and  in  the  same  part. 

In  the  first  measure  of  the  fillowing  example,  the  second  chord  is  a  su- 
perfluous common  chord.  The  treble  (Gfr)  is  the  superfluous  fifth.  In  the 
previous  chord,  also,  the  G^  sharp  appears  in  the  treble,  and  in  this  previous 
chord  it  (the  G^)  is  a  concord,  consequently  in  that  example  the  superfluous 
fifth  is  properly  prepared. 

A  superfluous  fifth  is  not  allowed  to  follow  a  perfect  fifth  in  sim- 
i5a.-  motion,  nor  can  a  perfect  fifth  follow  a  superfluous  fifth  in 
tmiiiar  motion. 

That  is,  consecutive  fifths,  where  one  is  superfluous  and  the  other  perfef  , 
are  not  allowed. 


n 


COMMON    CHORD    OF    III    IN    THE    MINOR    MODF.. 


The   common  chord  of  III  can   resolve  to  the  common  chords  of  I,  IV 
and  VI. 


1    1 

III  I 

1      2 
III     I 

1       3 

III     I 

2     1 

III     I 

2      2 

III     I 

2      3 

III     I 

3      1 
HI     I 

3      2 
III     I 

3      3 
III     I 

1      1 

III    IV 

12       13 
III    IV    III    IV 

2      1 

III    IV 

2      2       2      3 
III    IV    m    IV 

3      1 
III    IV 

3      2       3      3 
III    IV    III    IV 

1      1 

111    VI 

1      2 

III    VI 

1  3 
III    VI 

2      1 

III    VI 

2     2 

III    VI 

2  3 
III  VI 

3       1 
III    VI 

3      2 

III    VI 

3  3 
III    VI 

Write  at  least  three  examples  of  each  progression  contained  in  the  tables, 
placing  before  each  chord  of  III  a  chord  which  contains  a  tone  that  will 
prepare  the  discord,  i.  e  ,  a  chord  which  contains  the  tone  which  is  the  su- 
perfluous fifth  in  the  chord  of  III,  and  which  in  that  chord  is  a  concord. 


The  above  contains  three  examples  of  the  first  progression  of  the  first  table. 
Before  each  chord  of  III,  the  chord  of  V  is  placed,  because  it  contains  a 
tone  (Gii)  which  will  prepare  the  discord.  In  the  chord  of  V,  G#  is  the 
major  third,  and  is  consequently  a  concord.  In  the  chord  of  III  it  is  the  su- 
perfluous fifth,  and  is  consequently  a  discord  which  requires  a  preparation. 
It  will  be  noticed  that  in  each  measure  the  discord  and  the  tone  which  pre- 
pares it  are  in  the  same  part ;  that  i.>*,  in  the  first  nicasure  both  the  G  sharps 
are  in  the  treble,  in  the  second  measure  both  the  G  sharps  are  in  the  alio, 
and  in  the  third  measure  both  the  G  sharps  are  in  the  tenor. 


The  following  measures  contain  one  example  of  each  of  the  progressions 
contained  in  the  tables.  The  student  should  invent  at  least  two  more  oi 
each,  so  that  there  may  be  as  many  examples  of  each  of  the  progres.^ions 
contained  in  the  tables  as  there  are  of  the  first  progression  of  the  first  table, 
in  the  preceding  example.  It  will  be  seen  that  in  the  preceding  example 
in  the  first  measure  the  superfluous  fifth  is  placed  in  the  treble,  in  the  second 
measure  it  is  placed  in  the  alt(\  and  in  the  third  measure  it  is  placed  in  tha 
tenor.  The  .student  should  endeavour  to  place  it  in  a  different  part  (when 
possible)  in  each  of  the  measures  which  he  writes.     In  the  following  exam 


COMMON    CHOUI)    OF    III    IN    THE    MINOR    MODE. 


73 


flies,  where  it  is  possible,  the  superfluous  fifth  is  placed  in  the  treble.  In 
the  two  additional  meMsures  of  each  progression,  which  the  student  is  ex- 
pected to  write,  it  is  presumed  he  will  write  it  in  the  alto  and  tenor. 


1      2 

in    I 


1      3 

III     I 


'^'^spj-s; 


-f3-   -^- 


^=F^ 


^W^ 


Mn:^ 


_*_:^:^ 


3       1 

V   III      I 


#?#?-- J~ -4t?4f«--?  - 


^     • 


0  ^    P 

"I — ( — r 


:pp: 


3 
V      III 


:i^£^zz^ 


0         *         g 

:zr— rZTCI 


Cannot  be  done  IjecHUse 
tlie  superfluous  filth  chii- 
not  resolve. 


:t 


(Cannot  he  done  because 
the  suiierfluous  fifth  can- 


II  12                 13 

III  IV                 V    HI      W       V    III      IV 

2      1 

V      III    IV 

2      2 

V    III    IV 

ii-r.-^-' 

rzz — 1 — ^- 

:^'"n.~i ' 

- 

{ 

i 

Cnrinot  be  done  wiih- 
«>iit     itroducing   forbid- 
den fifths. 

::r=:*zt= 

mi 

: 

\ 

-  r=-r~-^ 

^ 

'    1  ■ 

'    1 

74 


COMMON    CHOUD    OF     III    IN    THE    MINOR    MODS. 


11  12 

III    VI        V    III    VI 


1      3 

III  vr 


2      1  2    2 

V    III  VI     v  m  VI 


--^-— 1-^~ 

E  --H-=i'- 

|;z^::q:iq^ 

-=^-=Th" 

1 — i — 1 

:zp:^:.- 

1 

'    (    1 

'        1        ' 

-d  m    • 

Write  Practical   Exercise  No.  3  with  Own  Melody,   according  to  the  di- 
rections in  Chapter  XXVIII. 

Practical  Exercise  No.  3. 


^5 


Write  Practical  E.vercise  No.  3  with  Given   Melody,    according  to  the  di- 
rections in  Chapter  XXVIII. 

Melody  of  Practical  Exercise  No.  3. 

pieiSisiSgisiiiiiii 


SEQUENCES. 


75 


Write  Practical  Exercise  No.  3  in  Dispersed  Harmony,  according  to  the 
directions  in  Chapter  XXVIII. 


CHAPTER   XXX. 


SEQUENCES. 


King  of     kings and 

for   ev-er        and  ev-er,         Hal-le-lu  jah,         Hal-le-Iu  jah. 


1^  1^  ^  ^      1^      ^  ^ 

for  ev-er  and  ev-er,       Hal-le-lu-jah,         Hal-le-Iu-jah. 


kings . 


^  ^  ^  ^  b*  ^      I  , 

for  ev-er         and  ev-er,         Hal-le-lu-jah,  Hal-le-lu-jah. 


A  strain  which  is  repeated  one  or  more  times  at  a  higher  or  lower 
pitch,  is  called  a  Sequence. 

The  above  example  is  from  the  Hallelujah  Chorus  of  the  Messiah.  The 
first  strain  is  repeated  twice,  each  time  at  a  higher  pitch,  and  "s  consequently 
a  sequence. 


76 


SEQLTENCES. 


The  first  strain  of  a  sequence  is  called  the  Figure. 

The  smallest  number  of  chords  of  which  a  figure  can  consist  is  two.  Of 
oourse  any  number  larger  than  two  may  be  employed  to  form  a  figure. 

In  the  repetition  of  the  figure  Rules  1,  2  and  3  must  be  observ- 
ed, but  all  other  rules  may  be  violated,  except  those  which  relate  to 
discords  which  require  a  preparation. 

In  the  construction  of  the  figure  all  rules  must  be  observed,  but  in  the  re- 
petitions it  is  not  important  that  any  except  Rules  I,  2  and  3  should  receive 
attention. 

The  foUowincr  exercises  consist  of  figures  composed  of  the  fewest  possible 
number  of  chords  Although  a  figure  may  be  repeated  any  number  of  times, 
it  is  not  usual  to  repeat  it  more  than  twice. 


mmM 


it t .-[n 


m$mmm 


In  the  above  example  the  first  measure  forms  the  figure,  and  the  second 
and  third  measures  contain  the  repetitions,  each  one  degree  higher  than  the 
previous  one. 

Write  two  repetitions  of  the  following  figures,  each  a  degree  higher  than 
the  previous  one;  i.  e.,  like  Exercise  No.  1,  which  is  written  out  in  full  as 
an  example. 


No.  2 


No.  5. 


No.  7. 


Write  two  repetitions  of  the  following  figures,  each  a  degree  lower  than 
the  previous  one;  i.  e.,  like  Exercise  No.  8,  which  is  written  out  in  f  I'l  aj 
an  example. 


SEQUENCES. 


7T 


No  8. 


;i£=^: 


^i^: 


1 


■=R-f 


— iliiilisil 


No.  9. 


No   10.       No.  1 


No.  14. 


RniMARK. — In  the  fourth  chord  of  Exercise  No.  8  there  are  two  lead- 
inor  i\otes,  one  of  which  (in  the  base)  descends.  This  is  contrary  to  Rule 
IV,  whieh  says  that  the  leading  note  must  ascend.  Accordincr  to  this  Rule 
two  leading  notes  cannot  be  taken  in  any  one  chord,  because  they  must  both 
ascend,  which  would  produce  consecutive  octaves  or  primes  (unisons).  In 
this  fourth  chord  also  the  diminished  fifth  (F)  does  not  resolve  according  to 
the  rules.  The  violations  of  these  rules,  however,  are  permitted,  because  in 
sequences  all  the  rules  which  have  thus  far  been  given  can  be  violated,  ex- 
cept Rules  1,2  and  3,  and  those  which  relate  to  the  superfluous  common 
chord. 

When  the  chord  of  VI  follows  the  chord  of  V,  the  third  in  the 
chord  of  VI  must  be  doubled. 

^  There  is  no  progression  more  common  than  for  VI  to  follow  V,  and  none 
in  which  consecutive  fifths  and  octave?!,  and  wrongly  resolved  leading  notes 
are  more  liable  to  occur.  In  the  following  sequence  the  figure  is  repeated 
eleven  times,  giving  the  progression  V  VI  in  every  minor  key.  The  student 
should  practice  it  on  the  piano  until  able  to  play  it  readily  from  memory. 

No.  15. 

J__    _._      J ^ 


Key  of      Key  of 


Key  of        Key  of 


I — 1 — -^-r 

V      VI         V 
[6»] 


K       "        "        '        "      '-        "      *" 
Gi 


F  minor.   F  ^  minor.  G  minor.  G  #  minor 


Key  of        Key  of 
A  minor.     B\)  minor. 


VI 


78 


SEQUENCES. 


liiliiiiiifelii 


Key  of      Key  of 
B  minor.    C  minor 


Key  of      Key  ot 
C^  minor.  D  minor. 


Key  of 
Dff  minor. 


Key  of 
E  minor. 

8,..    ... 


EEE 


1 


VI 


VI 


Write  the  same  chords,  in  the  same  keys,  in  the  following  positions 
No.  16.         No.  17.  No.  18.  No.  1». 


Key  of 
F  minor,  &c 

I p— |- 

V        VI 

In  Exercise  No.  1.5,  the  trehle  is  the  fundamental  note,  the  alto  is  the 
third,  and  the  tenor  is  the  fifth  of  the  chord.  In  No.  16,  the  trehle  is  the 
fundamental  note,  the  alto  is  the  fifth,  and  the  tenor  is  the  third  of  the  chord. 
In  No.  17,  the  treble  is  the  third,  the  alto  is  the  fifth,  and  the  tenor  is  the 
fundamental  note.  In  No.  18,  the  treble  is  the  third,  the  alto  is  the  funda- 
mental note,  and  the  tenor  is  the  fifth.  In  No.  19,  the  treble  is  the  fifth, 
the  alto  is  the  fundamental  note,  and  the  tenor  i.s  the  third.  In  No.  20,  the 
treble  is  the  fifth,  the  alto  is  the  third,  and  the  tenor  is  the  fundamental  note. 
Consequently  the  above  exercises,  when  written  out  in  full,  embrace  every 
possible  position  of  the  progression  V  VI  in  every  minor  key. 


Key  of         Key  of 
E  minor.   D^  minor 


Key  of 
D  minor 


Key  of 
C^  minor. 


Key  of 
C  ininiir. 


Key  of 
minor. 


.hi- 


I-T-U-Ji- 


^iiiiiiiii^iiii 


VI 


VI 


SEQ,UENCES. 


79 


Key  of       Key  of 
_         F#  minor.  F  minor. 

I — T~r"^r"i  I r~T~r  ^g*~'i^r — p— I 

.!Ziii[iz:i — izrizzi — iir:zrr~  i7r:~  r— I 

V         VI      V         VI       V        VI        V        VI       V 


Key  of      Key  of        Key  of      Key  of 
B[)  minor.  A  minor.  G#  minor.  G  minor 


VI      V         VI 

Exercise  No.  21  gives  an  example  of  the  chords  contained  in  the  six  pre- 
vious exercises,  descending.  Liiie  Exercises  No.  15,  it  should  be  practiced 
until  the  student  can  play  it  readily  from  memory. 

Write  the  same  chords,  in  the  same  keys,  in  the  following  positions : — 


No  23. 


No.  93. 


No.  34. 


No.  25. 


No.  3«. 


Key  of 
E  minor,  &c* 


:9—:r 


Key  of 
E  minor,  &,c, 


III 

#*- 

Key  of 
E  minor,  &c 

^ 

, 



Exercises  No  21,  22,  23,  24,  25  and  26,  when  written  out  in  full,  em- 
brace every  possible  progression  of  VI  V  in  every  minor  key. 

Remark. — It  will  be  well  for  the  student  to  invent  sequences  containing 
three,  four,  five,  six  and  more  chords  in  the  figure. 

Although  a  proper  sequence  cannot  be  made  with  less  than  two 
chords,  passages  like  Exercises  No.  27,  28  and  29,  are  called  Onb 
Chord  Sequences,  because  the  same  rules  are  allowed  to  be  broken 
in  writing  them  that  are  allowed  to  be  violated  in  sequences. 

No  97. 

L 


^?:t5 


=n:ip«z5r»z:p;:p|:r 


i=g 


ICT 


Aa 


6    6      6 


80 


PRACTICAL    EXERCISES. 


No  89. 


In  each  of  tl  ese  exercises,  (Nos.  27,  28  and  29)  the  base  moves  by  !h« 
same  degrees,  i  e.,  in  Nos.  27  and  28  by  seconds,  and  in  No.  29  by  tb  rds. 
When  the  base  moves  equally  in  this  manner  the  passage  is  called  a  one- 
chord  sequence,  (meaning  that  the  figure  is  composed  of  one  chord  only,) 
and  the  same  liberties  can  be  taken  with  the  rules  as  in  regular  sequences. 
In  one-chord  sequences,  like  Exercises  Nos.  27  and  28,  three  parts  must 
move  regularly  like  the  base.  It  is  of  course  impossible  that  fuur  parts 
should  move  in  this  manner,  because  of  consecutive  octaves,  so  that  one  part 
must  move  irregularly.  In  No.  27  the  tenor  moves  irregularly,  and  in  No.. 
28  the  alto  moves  irregularly.  In  other  respects  Nos.  27  and  28  are  alike. 
From  the  twenty  third  to  the  thirty-first  chord,  in  Practical  Exercise  No.  1, 
forms  a  one-chord  sequence  like  No.  29.  The  sixteenth  and  seventeenth 
chords  in  Practical  Exercise  No.  1  form  the  figure  of  a  regular  sequence, 
and  the  four  succeeding  chords  form  the  repetitions. 

See  if  there  are  any  sequences  in  Practical  Exercises  Nos.  2  and  3,  and  .( 
there  are  any  point  them  out. 


CHAPTER   XXXI. 


PRACTICAL      EXERCISE 


Write  Practical   Exercise  No.  4  with  Own  Melody,   according  to  the  dr 
ctions  in  Chapter  XXVIII. 

Practical  Exekcise  No.  4. 

E3ElEEtel'EiE^F=gE=EEEiEE:^EI?5fiI 


PRACTICAL    EXERCISES. 


'mMwBim^M&m 


4f#5#5 


S33tiiiiiiiiiiiigsf 


##5 


##5 


Write  Practical  Exercise  No.  4  with  Given   Melody,    according  to  the  di- 
rections in  Chapter  XXVIII. 

MeSodj  of  Practical  Exercise  No.  4. 

-6#- 


^^^f^ 


"j~: 


psgilgfSigii 


rp-n^  f 


,,__, 


SgSiii&lfiilS 


-d-i 


glggggasiiEgiie 


Write  Practical  Exercise  No.  4  in  Dispersed  Harmony,  according  to  the 
directions  in  Chapter  XXVIII. 

The  student  should   carefully  examine  every  chord  hy  the  questions  on 
page  63,  and  should  now  add  the  following  additional  questions  : — 

9.      Is  the  superfluous  fifth  rightly  used  ? 
10.      Is  there  a  sequence  in  the  exercise,  and  if  so  is  it  rightly  used? 

Write  Practical  Exercise  No.  5  with  Own  Melody,   according  to  the  di- 
rections in  Chapter  XX\'III. 

Practical  Exercise  No.  5. 


H 


giiliiggg 


^^5 


b'i^^S 


83 


PRACIICAL    EXERCISES. 


iggsgiggin 


^5 


5        ^ 


fc|t^5 


Write  Practical  Exercise  No   5  with  Given  Melody,  according  to  the  di 
rections  in  Chapter  XXVill. 

Melody  of  Practical  Exercise  No.  5. 


[T 


^M^mmMmm^w^ 


Write  Practical  Exercise  No.  5  in  Dispersed  Harmony,  according  to  <be 
directions  in  Chapter  XXVIII. 

Write  Practical  Exercise  No.  6  with  Own  Melody. 
Practical  Exercise  No.  6. 

«    «        #        #  ii  *  l5 


#  a  if  ^  *  ft 


:ee 


l<^*    * 


^^i 


m^—"- 


S 


Write  Practical  Exercise  No.  6  with  Given  Melody. 
Melody  of  Practical  Exercise  No.  6. 


sifgggg^igs^ 


PRACTICAL    EXERCISES. 


Pl»-»lt 


pfi^s&ggiiffiig 


^ppiifigiiiiii 


Write  Practical  Exercise  No.  6  in  Dispersed  Harmony. 
Write  Practicd  Exercise  No.  7  with  Own  Melody 
Practical  Exercisb  No.  7. 


gggflifig^ii^i 


b         bb    bbb    bbs    bb  #5  #5  #     #  #  # 

b  ^ 


§"i3?iglgiteSlSi3 


b  bs  b5  ^* 

b   # 


t*^      b 


iffl3E 


Write  Practical  Exercise  No,  7  with  Given  Melody. 
MeJody  of  Practicai  Exercise  No.  7. 


5^^^gSl^ 


84  CHORD    OF    ^IV    IN    THE    MINOR    MODE. 

Write  Practical  Exercise  No.  7  in  Dispersed  Harmony. 

Eeimark. — One  of  the  most  important  exercises  connected  with  the  stndy 
of  the  practical  exercises,  is  the  jilacing  of  the  Roman  figures  under  each 
chord,  as  directed  in  Chapter  XXVfll.  Great  care  should  be  taken  in  thus 
writing  these  Roman  figures,  and  they  should  on  no  account  be  omitted  in 
any  exercise 


CHAPTER    XXXII. 


CHORD    OF    SSIV    IN    THE    MINOR    MODE. 

■  A  common  chord  of  which  i^lV  is  the  fundamental  note,  is  often 
ased  in  the  minor  mode.  It  is  composed  of  a  fundamental  note,  a 
tone  which  is  a  diminished  third  from  the  fundamental  note,  and  a 
tone  which  is  a  diminished  fifth  from  the  fundamental  note,  and  is 
called  a  Double  Diminished  Common  Chord. 

Common  chord  of  sharp  Common  chord  of  sharp  Common  chord  of  sharp 
four  in  the  key  of  A  four  in  the  key  of  E  four  in  the  key  of  D 
minor.  minor.  minor. 


Each  tone  of  the  double  diminished  common  chord  has  a  fixed 
resolution.  Tho  fundamental  note  must  ascend  one  degree,  the  di- 
minished third  must  descend  one  degree,  and  tho  diminished  fifth 
!nust  move  as  in  the  chords  of  II  and  VII. 

The  chord  of  ^IV  can  resolve  to  the  chords  of  I  and  V 


CHORD    OF    ^IV    IN    THE    MINOR    MODE. 


85 


Remark.— When  the  chord  of  #IV  is  followed  by  the  chord  of  I,  the 
diminished  fifth  cannot  resolve,  and  it  is  therefore  free.  [See  page  64.] 
Wheu  it  is  followed  by  the  chord  of  V,  the  diminished  fifth  must  resolve, 
because  the  chord  V  contains  tones  to  which  it  can  resolve. 


1       1 

#IV   I 

I    2 

#IV   I 

1    3 

#IV   I 

2    1 

^IV   I 

2   2 

#IV   I 

2    3 

ftIV   I 

3    1 

^IV        I 

3    2 

#IV   I 

1   3    3 

j  #iv  I 

1 

1 
V 

#IV 

2 
V 

1 

3 
V 

2 

1 

V 

2 

2 
V 

2 

3 
V 

3 

1 

V 

3 

V 

3 

3 
V 

One  example  of  each  progression  contained  in  the  tables  is  given  below. 
As  in  the  tables  previously  given,  the  student  should  invent  at  least  two  more 
examples  of  each  progression. 


86 


CHORD    OF    #IV    IN    THE    MINOR    MODE. 


2 


Cannot  b  >  done. 
Wh)  .' 


~B 


3 

#IV 


lncomp)ete. 


'i' 


3 


-:^5^^-=i=^! 


— ^- 


3 

-i 


=^ 


3 


4»1V  1  cannot  be  done  unless  more  than  four  parts  are  emplojed.     In  the 
example  it  will  be  seen  that  1   has  no  fundamental  note.      There  ure  three 

11 
E's  and  one  C  in  the  chord,  but  no  A.     ^IV  V   are  incomplete,   because 
there  is  no  B  in  the  chord  of  E,  and  there  cannot  be  one  without  pro<lucii>i» 
the  kind  of  consecutive   fifths   which   are   forbidden  in  RuJe  Vll       It  wjU 

readily  be'seen  that  #IV  V  muat  be  incomplete,  (there  is  no  fifth  in  V,)  urs- 

H  3 
less  more  than  four  parts  are  employed.  Both  that  progression  and  ^IV  I 
can  be  done  with  tivo  p;irts.  as  in  the  following  example.  Some  writers 
hold  that  the  diminished  fifth  must  not  skip  when  it  is  in  the  ba;>e.     If  this 

:i     3  3     1 

doctrine  is  correct,  ^IV  I  and  #1V  V  cannot  be  done  at  all. 


Practice  the  foHowinor  exercise  in  all  the  minor  keys,  until  able  to  p!af  il 
readily  from  memory  in  every  key. 


2       3 

^IV      I 


2 

-— i — r- 


f|plpp|iig!ii|ti 


PRACTICAL    EXERCISES. 


87 


2       S  2       1 

Note. — The  progressions  ^IV  I  and  #IV  V  are  by  far  the  best  progres. 
Bions  in  which  the  chord  of  :|^IV  can  be  used,  and  it  is  very  seldom  used  in 
any  other.  If  the  student  practices  the  last  exercise  thoroughly,  in  the  kcya 
E,  B,  F#,  C^,  G^,  D,  G,  C,  F,  Bb  and  £[?  minor,  he  will  be  perfectly  fa- 
miliar with  the  chord  as  it  is  usually  used. 

Add  to  the  questions  on  pages  68  and  81,  the  following  :— 

11.   Is  the  sharp  four  rightly  used  ? 

1^.   Is  the  diminished  third  rightly  used? 


CHAPTER   XXXm. 


PRACTICAL      EXERCISES. 


Write  Practical   Exercise  No.  8  with  Own  Melody,   accorr  ng  to  the  di 
rections  in  Chapter  XXVIII. 

Peactical  Exercise  No.  8. 

#  #6  6    #6  6  #6  ^5    6 


«  #6  #5  #    6    #6  #    6    #6  4^    6 


6  6665  ^6     664^666  666 


^6      6      6      #      6   bp     6 


^^^^^^^^^ 


^«    #    #^    #     #      6      ^ 


8      # 


#6     I     S 


B8 


PRACTICAL    EXERCISES. 


Write  Practical  Exercise  No   8  with  Given  Meiody,  according  to  the  di- 
rections in  Chapter  XXVIII. 

Melody  of  Practical  Exercise  No.  8. 


td- 


^iSiS§l 


Write  Practical  Exercise  No.  8  in  Dispersed  Harmony,  according  to  the 
directions  in  Chapter  XXVIII. 

Remark. — In  Practical  Exercises  Nos.  1 ,  2,  3,  4,  5,  6  and  7,  the  chords 
are  all  in  the  first  form.  [See  Chapter  XIV.]  In  Practical  Exercises  Nos. 
8,9,  10, 11, 12, 13, 14  and  15,  all  three  forms  are  employed.  On  pa2;e69  an 
example  of  Practical  Exercise  No.  1  is  given,  with  the  chords  written  out  in 
full,  as  a  model  of  the  manner  in  which  the  succeeding;  exercises  are  to  be 
written.  The  following  is  Practical  Exercise  No.  8  written  nut  in  full,  pre^ 
cisely  as  the  student  is  expected  to  write  the  Given  Melody  of  No.  8  and  the 
succeeding  exercises  It  is  presumed  the  student  has  already  writfi-n  Prac- 
tical Exercise  No.  8,  and  he  should  now  compare  his  Given  Melody  with  the 
following,  and  see  that  it  is  precisely  like  it. 


-#-      •     -J-     -#-  • 

12  11  21  11  1222 

1      II      V     VI      n      V       I      V       I     VII      I    vn 


PRACTICAL    EXERCISES. 


89 


p3;^Ei«5ErfefiEa4%4iE^ 


2         2 

I       n 


-•-    ^^-       -p-     -p-       -•- 


iEliHi^iliilEifli 

211122  112        2  11 

II        V  IV  I        VII         I         V  I        VII         I         V 


0 

—I—  t-- 


1 1-p— ^ 


fl        _4 5_ 


#6 


iiEiS^l^iiilifiliiJ 


2         2 
IV        II 


3  112 

IV  I       VII 


R  6  #  fi  6  6 6  6 6_^_^._i^^__^ 


2  2 

I      n 


1 

V 


:ziip: 

2  2         2 

I         VII       I 


12  2         2  12 

rv    vn      I      u      V     vii 


HW 


PRACTICAL    EXERCISES. 


VI 


VII 


^^ 


#8 


I' 


EdligT^ggg 


r^^ 


2 
VII 


2 

VII 


2        2 

I      #IV 


2 

#IV 


^-T-6 ^T -^-  T-^ — T rr 


#IV 


Write  Practical  Exercise  No.  9  with  Own  Melody. 
PuACTiCAL  Exercise  No.  9. 


— »-:«Tf?::~] 


lSf6     6 


6     6 


4=Jl 


6     4  ^3         feje    6      i?  4f6  6  6  6    i^  he  *^5 


Practical  exercises. 


6  «      I    6    bs  $     4     ««  -      ^    -       -     ^     -      -        -    -     - 


6^5  6      $l!5     S#C66 

4      ^  4     3      4" 


-lTi:^=T:^T=^t2d"3]HT^;^IJ 


tt* — 1— iTn — ^T — I — iT^-4iTr~^iTn — \m — ^t^-lst 


g 


5  #6     6      #6     6     6 

4      3  IT  -n 


5 

4      3 


""5  I 


Write  Practical  Exercise  No.  9  with  Given  Melody. 
Melody  of  Practical  Exercise  No.  9. 


:§igii}ig|ii^s^s 


|EP^^fe:J^jfe|Ffe: 


:'T~~^'rzj:. 


T=M-^ 


+-^T— 


^FiR^T^F 


Ti=T;^T 


5W:=_g«szi^3'~i^H^BHiaf5T 


Write  Practical  Exercise  No.  9  in  Dispersed  Harmony. 

Bemark. — On  page  37  the  remark  is  made,  that  a  chord  is  not  allowed  to 
stand  alone  in  a  key.  There  is  one  exception  to  thi.s  rule.  Irt  the  minor 
mode,  a  chord  which  has  for  its  fundamental  note  tlie  tone  which  is  Jlat  six 
of  the  key  in  which  the  previous  and  succeeding  chords  belong,  is  allowed 
to  stand  alone.  The  thirty-eighth  chord  in  Practical  Exercise  No.  9  is  one 
of  this  character.  It  is  the  chord  of  VI  in  the  key  of  C  minor,  while  the 
chord  before  it  is  the  chord  of  VI  in  G  minor,  and  the  next  chord  after  it  is 
the  chord  of  V  in  G  minor,  and  it  therefore  stands  alone  in  a  key,  contrary 
t'^  the  rule  given  on  page  .37.  Its  fundamental  note,  however,  is  Ab.  and 
A()  is  flat  six  m  the  key  of  G  minor,  the  key  in  which  the  previous  and  suc- 
ceeding chords  belong,  consequently  it  comes  within  the  exception  to  the 
rule,  as  given  above.  The  fifty-seventh  chord  also  contains  a  violation  of 
t  rule  which  is  explained  in  the  remark  on  page  206. 


8  PRACTICAL    EXERCISES. 

Write  Practical  Exercise  No.  10  with  Own  Melody. 
Peaoticai,  Exercise  No.  10. 


^mm^M^^mm 


#6  6   6  #  #6  4f   6 


6  # 


#     6   6  ^5  #     #5    #6  6     #5  #  #6  #  #6  # 


#5  #  #6  #  #6  # 

# 


#6  #  #6  '   6   6     #  6  #6    #5  6  #6    #  6  #6    # 

# 

:tf6  6        6   #      5  6  #6      6   # 

Write  Practical  Exercise  No.  10  with  Given  Melody. 
Melody  of  Practical  Exercise  No.  10. 


PRACTICAL    EXERCISES. 


93 


Remark.  —  Rule  IV  requires  that  the  leading  note  should  ascend.  Ta 
he  seventeenth  chord  of  Practical  Exercise  No.  10,  according  to  the  Given 
Melody  the  leading  note  cannot  ascend  without  leaving  the  next  chord  in- 
complete, for  if  the  alto  should  have  E  in  the  eighteenth  chord,  there  would 
be  no  B  in  the  chord.  By  the  remark  on  page  43,  it  will  be  seen  that  Rule 
IV  can  be  broken  if  there  is  a  good  reason  for  so  doing.  In  the  passage  al- 
uded  to,  the  rule  is  broken  for  the  sake  of  giving  a  more  satisfactory  close 
to  the  strain.  It  will  be  readily  seen  that  when  the  letter  which  is  the  fun- 
damental note  is  taken  for  the  treble  at  the  close  of  a  strain,  the  effect  is 
more  satisfactory  than  when  either  the  third  or  the  fifth  of  the  chord  is 
taken. 

Write  Practical  Exercise  No.  10  in  Dispersed  Harmony. 

Write  Practical  Exercise  No.  11  with  Own  Melody. 

Practical  Exercisk  No.  1 1 . 


6    6 

4 


^6     6    6      6     5 
b      4    ^ 


^issiiiiisgiga 


^#6  6  ^6  6^5 


6    6     6  ^6  ^5      6  6  i^6 


6    6  6      8  6    6 

Write  Practical  Exercise  No.  11  with  Given  Melody 
Melody  of  Practical  Exercise  No.  11. 


FSiiiS 


^6  6 
4 


5^i^^» 


94 


PRACTICAL    EXERCISES. 


Write  Practical  Exercise  No.  11  in  Dispersed  Harmony. 
Write  Practical   Exercise  No.  12  with  Own  Melody. 
Practical  Exercise  No.  12. 


6     ^    6 


#   #5 


«    5  ^ 


#6 


6     #  #6    •  :t^6  #5  #6       #6 


#6       #6 


siiigjiii^iiirpiiiigia 

6  6  #6    #     #6      6       6     ^     ^6    6       a 

Write  Practical  Exercise  No.  12  with  Given  Melody. 
Melody  of  Practical  Exercise  No.  12. 


;=t 


Write  Practical  Exercise  No.  12  in  Dispersed  Harmony. 
Write  Practical  Exercise  No.  13  with  Own  Melody 


PRACTICAL    EXERCISES. 

Peacsicai  Exercise  No.  13 


9« 


rEACSICAl  liXEKCISE  IMO.    I«>. 

66  6     ^6  6  ^^45 


iggiiiipiigiiiil 


5      25 

4        *^ 


-        te      6        6 
4  4     '^         6 

Write  Practical  Exercise  No.  l3  with  Given  Melody. 
Melody  of  Practical  Exercise  No.  13. 

Write  Practical  Exercise  No.  13  in  Dispersed  Harmony. 
Write  Practical  Exercise  No.  14  with  Own  Melody. 
Pkactical  Exercise  No.  14. 

<:        A  R  A  R  R  .kR      R  ft        a        6 


6      6 


^6     6        6      6      6 


6  6     #     6      6     4^   X6    #     #    6    #5 


hi 


CHORD    OF    II    WITH    ^4    IN    THE    MINOR    MODE 


#6  4^5     6    #6     6    #5 


g-jjgfggggggll 


66666666  6  6  5 

4         3 

Write  Practical  Exercise  No.  14  with  Given  Melody. 
Melody  of  Practical  Exercise  No.  14. 


i^i^:^ 


Sa^Ig^^S^i^ 


Write  Practical  Exercise  No.  14  in  Dispersed  Harmony. 


CHAPTER  XXXIV. 

CHORD    OF    II    WITH    Jf^A    IN    THE    MINOR    MODE. 

In  Chapter  XXXII  sharp  four  is  treated  as  if  it  was  one  of  the  tones  oi 
the  minor  scale. 

In  :he  combination  of  the  tones  of  the   scale   into  chords,  sharp 
rouLT  must  be  considered  as  one  of  the  tones  of  the  minor  scale. 

This  does  not  mean  that  when  the  minor  scale   is  played  or  sung,  sharp 
'our  must  be  introduced  into  it,  but  only  that  when  the  minor  scale  is  com 


CHORD    OF    II    WITH    ^4    IN    THE    MINOR    MODE. 


97 


bined  into  the  various  chords,  sharp  four  must  be  used  in  the  various  combi- 
nations as  if  it  was  an  integral  member  of  the  minor  scale. 

According  to  this  rule,  the  fundamental  note  of  evury  chord  which  con- 
tc  ns  four  of  the  scale,  can  also  be  the  fundamental  note  of  a  chord  which 
ci.ntains  sharp  four.  II  is  the  fundamental  note  of  a  chord  which  contains 
IV  of  the  scale,  consequently,  II  is  als )  the  fundamental  note  of  a  chord 
which  contains  sharp  four. 

The  Chord  of  II  with  ^4  is  composed  of  a  fundamental  note, 
a  tone  which  is  a  major  third  from  the  fnndamental  note,  and  a 
tone  which  is  a  diminished  fifth  from  the  fundamental  note.  It  is 
called  a  Major  Diminished  Common  Chord. 


Common  chord  of  two 
with  sharp  four,  in  the 
key  of  A  minor. 


Common  chord  of  two 
with  sharp  four,  in  the 
key  of  E  minor. 


:«: 


Common  chord  of  two 
with  sharp  four,  in  the 
key  of  D  minor. 


It  will  be  seen  that  no  new  rule  is  required  for  this  chord.  Sharp  foui 
must  resolve  as  in  the  chord  of  4rIV,  [page  84,]  and  the  diminished  fifth 
must  be  used  as  in  the  chord  of  II. 

The  chord  of  II  with  ^4  can  resolve  to  the  chords  of  I  and  V. 


1       1 

II:i*4            I 

12            13      1 
1I#4       I         II#4       I      1 

2          1     1      2        2     1      2        .S 

\m     I     n#4    I     11^4    I 

3          1             3         2     13         8 
U^A        I         11^4      I     1  114^4       I 

II#4 

1 
V 

1 
n#4 

2 

V 

im 

3 
V 

2 
11^4 

1 
V 

1      2 
IIi*4 

2 

V 

2 
II#4 

3 
V 

3 

1 

V 

3 

IIf^4 

2 

V 

3 

n#4 

3 
V 

Remark. —  Sharp  four  is  a  species  of  leading  note,  and  like  the  leading 
note  must  resolve  by  ascending  one  degree. 

One  example  of  each  progression  contained  in  the  tables  is  given  be'ov. 
As  in  the  tables  previously  given,  the  student  should  invent  at  least  two  more 
examples  of  each  progression. 

[9] 


CHORD    OF    II    WITH    ^IV    IN    Tlir     MINOR    MODE. 


-if* ^^— 


Incomplete. 


-Pl= 


5S:=S: 


:t 


T^:«i- 


•— -«- 


-• ( 


--'^- 


^S 


._?!— ISi 


The  two  examp/es  marked  incomplete,  can  be  made  complete  with  in 
»art8,  as  follows .— 


BECAPITULATION    OF    COMMON    CHORDS. 


M 


I 

n#4 


«• 


■-=r-=^ 


mm 


CHAPTER    XXXV. 

RECAPITULATION    OF    COMMON    CHORDS. 

Major  Scale, 


^gl^iiipHii 


I         n         m       IV        V       VI       vn 

The  common  diord  of  I  in  the  major  scale  is  a  major  comnc  mi 
chord. 

The  common  chord  of  il  in  the  major  scale  is  a  minor  commctn 
chord. 

The  common  chord  of  III  in  the  major  scale  is  a  minor  common 
chord. 

The  common  chord  of  IV  in  the  major  scale  is  a  major  common 
chord. 

The  common  chord  of  V  in  the  major  scale  is  a  major  common 
chord. 

The  common  chord  of  VI  in  the  major  scale  is  a  minor  common 
chord. 

The  common  chord  of  VH  in  the  major  scale  is  a  diminished 

cimimon  chord. 

Minor  Scale. 


i^lfPHlL^^^g 


1  -^ 

I        n 


vx      vn 


UO  RECAPITULATION    OF     COMMON    CHORDS. 

The  common  chord  of  I  in  the  mmor  scale  is  a  minor  commor. 
3hord. 

The  common  chord  of  II  in  the  minor  scale  is  a  dmiinished 
common  chord. 

The  common  chord  of  II  with  sharp  four  in  the  minor  scale  is  a 
major  diminished  common  chord. 

The  common  chord  of  III  in  the  minor  scale  is  a  superfluous 
common  chord. 

The  common  chord  of  IV  in  the  minor  scale  is  a  minor  common 
chord. 

The  common  chord  of  #IV  in  the  minor  scale  is  a  double  dimin- 
ished common  chord. 

The  common  chord  of  V  in  the  minor  scale  is  a  major  common 
chord. 

The  common  chord  of  YI  in  the  minor  scale  is  a  major  common 
chord. 

The  common  chord  of  VII  in  the  minor  scale  is  a  diminished 
common  chord. 

The  common  chords  of  I,  IV  and  V  in  the  major  scale,  and  V 
and  VI  in  the  minor  scale,  are  major  common  chords. 

The  common  chords  of  II,  III  and  VI  in  the  major  scale,  and  1 
and  IV  in  the  minor  scale,  are  minor  common  chords. 

The  common  chords  of  VII  in  the  major  scale,  and  II  and  VII  in 
the  minor  scale,  are  diminished  common  chords. 

The  common  chord  of  II  with  ^A  in  the  mmor  scale  is  a  major 
diminished  common  chord.  This  chord  cannot  be  used  in  a  major 
key. 

The  common  chord  of  III  in  the  minor  scale  is  superfluous  com- 
mon chord.     This  chord  cannot  be  used  in  a  major  key. 

The  common  chord  of  #IV  in  the  minor  scale  is  a  double  dimirt- 
ished  common  chord.     This  chord  cannot  be  used  in  a  major  key. 

The  tones  which  compose  major  common  chords  are  all  free. 

The  tones  which  compose  minor  common  chords  are  all  free. 

Of  the  tones  which  compose  diminished  common  chords,  itvo 
nftli  from  the  fundamental  note  has  a  fixed  resolution. 

Of  the  tones  which  compose  superfluous  common  chords,  tha 
fifth  from  the  fundamental  note  has  a  fixed  resolution. 

Of  the  tones  which  compose  major  diniiiiished  comw  »n  chor(«« 


RECAPITULATION    OF    COMMON    CHORDS. 


101 


ae  to.ii  -which  is  the  sharp  fourth,  and  the  tone  which  is  the  fifth 

from  the  fundamental  note,  have  fixed  resoUitions. 

All  the  tones  which  compose  double  diminished  common  chords 

have  fixed  resolutions- 
Write  Practical  Exercise  No.  15  with  Own   Melody   in  Dispersed  Har- 

mony. 

Remark. —  In  the  other  practical  exercises  it  has  been  required  that  the 
Own  Melody  and  the  Given  Melody  should  be  in  Close  Harmony  In  this 
exercise  the  order  is  reversed,  and  the  Own  Melody  and  Given  Melody  must 
be  in  Dispersed  Harmony.  No.  15  is  the  concluding  practical  exercise  com- 
posed exclusively  of  common  chords,  and  embraces  every  variety  of  common 
chords,  in  nearly  every  form. 

Pkacticai.  Exercise  No.  15. 

S    j^  66         ^4  6  6        6U6k6^664 

*  6  b  6  6  4^^ 

■-^-^ — pt-r-r— ^-tb#   I    r-Tr-\—i-i'r-r-^- : 

J-<  C     I  /,  I  I  A  I  I 


^^E^EE 


Mb5 


b5«      b5 

b 


=EESa=iEPE^IESIErEBEEE^I^E-:i 

bs  «     5  6        ^^6  #6 


Ms  bfi  b6  5  6     5  6     6    #    ^5  g    ^     ^5  b      b5 


6    I  6     6    #    #5  g    ^     ^5  b      b5 


be  bs  b-.  be  b«  bo    «  ^5   #«  be  «  #«   #  #«  « 

b    b   ^4  b  *4      *      #  ^i 

[9*] 


102 


RECAPITULATION    OF    COMMON    CHORDS. 


^g^giiili 


1^—i 


■^F 


*     ^6      6        6       6       ^ 


6      6  I      ^      ^      4      4     J  «     l>«        ^    J 

Write  Practical  Exercise  No.  15  with  Given  Melody  in  Dispersed   Har 
mony. 

Melody  of  Practical  Exercise  No.  15. 


fcECAPITULATION    OF    COMMON    CHORDS. 


103 


Write  Practical  Exercise  No.  15  in  Close  Harmony, 

Kbmark. In  the  classification  of  the  common  chords  of  the  minor  fcal©, 

f  sharp  four  is  treated  as  a  member  of  that  scale,  we  shall  of  course  hare  ? 
chord  of  seven  with  sharp  four.  Such  a  chord  would  consist  of  a  fundamen- 
tal note,  a  minor  third  and  a  perfect  fifth,  and  would  of  course  be  a  minor 
common  chord.  Its  movements,  however,  must  be  much  constrained,  lae- 
cause  its  fundamental  note,  (which  is  the  leading  note,)  and  its  fifth,  (which 
is  the  sharp  fourth,)  have  fixed  resolutions.  On  this  account  it  is  seldom  or 
never  used,  and  it  has  not  been  thought  necessary  to  introduce  it  among  the 
common  chords  of  the  minor  scale. 

Common  chord  of  VII  Common  chord  of  VII  Common  chord  of  VII 
with  sharp  four  in  the  with  sharp  four  in  the  with  sharp  four  in  the 
key  of  A  minor.  key  of  E  minor.  key  of  D  minor. 


VII#4 


YU^ 


K ^_,. 


^ 


iiiiilillllii^i^ 


r-^k^r^^^-^^rf^'^^f-^^ 


"»"    I        I 


5 g- 


liiiiiiii 


€4 


RECAPITULATION  OF  COMMON  (  HORDS. 


u  I         .    '  .        .     .     . 


i 


bjL  b_» 


d-i--*j^-4:^^. 


E^S=?s^EpE=J=^EE=TEEE3 


EEEEiEEElEEEEE3EEEIEEIEEE3 


The  above  example  contains  the  alto  and  tenor  of  Practical  Exercise  No. 
15,  It  is  presumed  the  student  has  already  worked  out  that  exercise  accord^ 
ing  to  the  directions,  and  the  alto  and  tenor  of  his  Given  Melody  should  no>« 
be  compared  with  the  above  example. 


RECAPITULATION    OF     COMMON    CHORDS.  105 

Remakk  on  Modulation.  An  exception  to  the  rule  which  requires  tha. 
one  chord  should  not  stiiud  alnne  in  a  key,  occurs  in  Practical  Exercise  No 
9.  Two  more  exceptions  occur  in  Practical  Exercise  No.  15.  Chorda 
which  belong  in  the  minor  mode,  and  whose  proper  resolution  is  in  that  key, 
frequently  resolve  to  the  major  key.  In  Practical  Exercise  No  15,  there  are 
several  instances  where  the  chord  of  sharp  four,  instead  of  resolving  to  the 
chord  of  one  in  the  minor,  resolv.^s  to  the  chord  of  one  in  the  major  Such 
resolutions  aie  always  allowed,  althoui/h  it  frequently  causes  a  chord  to  stand 
alone  in  a  key.  In  one  place  in  Practical  Exercise  No.  15,  the  chord  of 
five  in  D  minor  is  introduced,  and  is  immediately  followed  by  the  chord  of 
y\\  in  G  minor,  thus  leaving  the  chord  of  five  to  stand  alone  in  the  key  of 
D  minor  '1  he  indefinite  effect  produced  by  the  chord  of  VII  is  such,  that 
it  is  alloweil  to  succeed  any  chord,  even  if  such  chord  is  alone  in  the  key 
The  following  are  the  names  of  the  chords  in  Practical  Exercise  No.  15. 
The  student  should  compare  them  with  the  Roman  figures  which,  in  accord- 
ance with  the  directions  in  Chapter  XXVIII,  it  is  presumed  he  has  already 
written  under  the  base  notes  of  the  exercise. 

l2l|1lS|2l3|'il2|22      1|2      22 
I     IV    V     !  IV     V    VII  !    I     VI    VII    1      I      II    VI    1    V     II      I    i     II      I      V 

VI    IV    U^i\    V  ■      I  I     II     V   iVII     I    r  1  I    VI     V    I VII     I    i      I  I     I      V 
I  #^        2     1     !  1     1     1      '  1     1      1    '  1     1     3     '1      3      -'     [3     1^^       3   ■ 

VI  :^#  4f  I  III  |iv  II  IV  I  V  III  V  ivi  II  VII  ,#iv  I  4*iv  I  I   V  ^  «t  ^i  i 

3      1113      11132      111      2      111        1        112        1        2 
I     V     V   I  I      V    VII   !  Ill    VI     V !     Ill    IV    V   I   III      I       V    1    III     VI     VI     • 

3      3      3    !    2    ,3      2    13      2      21     1«|1       -      -M      211       1       ]i 

i^iv   I  ^iv!  V  #iv  V  ;#iv  V  ^iv!   V'     !  I   VII  1  I  IV    I  !v  vn  I 

1^'212'2      3       2'1      2      112      1       ]|      1        2      2;33]; 

V  1    I    V  VII  i    [      I      n=H=4  1   V     IV    V   I  I    VII     I     1  IIrr4     I    VIll    I     I    V 

1    1    112    2  '  3    1  '  ]  «; 

VI  IV     I    1  II    VI  1    I      V   I    I  '    I 

Rkmark  on  the  Major  and  Minor  Sc.\les.  —  There  is  a  very  intimate  re- 
ation  between  major  and  minor  scales  which  have  the  same  signature.  The 
keys  of  C  major  and  A  minor  have  the  same  signature,  and  are  called  rela- 
tives of  each  other.  C  major  is  the  relative  major  to  A  minor.  A  mirior 
is  the  relative  minor  to  C  major.  So  with  G  majnr  and  E  minor,  D  major 
and  B  minor.  &,c.  A  chord  frequently  stands  alone  in  a  key,  when  the 
next  chord  to  it  is  in  its  relative  key.  There  is  also  a  relation  between  the 
major  and  minor  keys  of  the  same  letter,  (for  example,  between  A  minor 
and  A  major,  &lc.)  and  a  chord  frequently  stands  alone  in  a  key  when  the 
next  chord  is  in  the  other  mode  of  the  same  letter.  For  example,  the  chord 
of  sharp  four  will  not  unfrequently  stand  alone  in  the  key  of  A  minor,  but 
be  followed  by  the  chord  of  one  in  A  major. 


106 


CHORDS    OF    THE    SEVENTH. 


Concluding  Remarks  on  Common  Chords.  —  If  the  student  has 
work  id  out  all  the  exercises  correctly,  he  is  now  familiar  with  the 
use  of  common  chords.  He  should  now  examine  music  of  differ- 
ent kinds,  and  notice  how  different  authors  use  the  common  chords, 
first  taking  psalm  and  hymn  tunes,  and  then  glees,  anthems,  cho- 
ruses, &c.  For  example,  suppose  he  takes  a  church  music  book  in 
which  the  first  tune  is  Old  Hundred,  and  proceeds  to  examine  the 
book  with  reference  to  the  common  chords.  He  finds  the  first 
chord  is  I,  the  second  chord  is  the  same,  the  third  chord  is  V,  the 
fourth  VI,  &-C.  He  notices  whether  the  progression  from  V  to  VI 
is  according  to  rule,  and  notes  every  other  peculiarity  of  thn 
composition.  In  this  manner  he  passes  through  the  book.  If  rules 
are  broken,  [see  remark  on  page  2U6,J  he  should  carefully  examine 
the  passage,  and  form  an  opinion  whether  the  author  has  acted  ju- 
diciously or  not.  The  result  of  this  exercise  will  be,  that  he  will 
become  more  and  more  familiar  with  the  common  chords,  and  at 
the  same  time  gradually  acquire  the  ability  to  analyze  music,  and 
acquaint  himself  with  the  styles  of  the  various  composers.  [See 
page  206.]  It  will  also  be  useful  for  him  now,  to  compose  tunes 
himself,  using  of  course  only  common  chords,  and  taking  great  care 
to  observe  all  the  rides  with  which  he  is  now  familiar. 


END    OF    TREATISE    ON    COMMON    CHORDS. 


CHAPTER    XXXVI. 

CHORDS    OF    THE    SEVENTH    OF    THE    MAJOR    SCALE. 

A  chord  composed  of  a  common  chord,  with  a  tone  which  is  a 
seventh  from  the  fundamental  note  added  to  it,  is  called  a  Chord 
OF  THE  Seventh.     [See  page  7.] 

Chords  of  the  seventh  are  indicated  by  a  figure  placed  at  the 
right  hand  side  of  the  Roman  figure  which  indicates  the  common 
chord.     Thus,  /;  ienotes  the  chord  of  the  seventh  of  one,  Sec. 


CHORDS    or    THE    SEVENTH.  107 


From  the  above  example  it  will  be  seen  that  each  chord  of  the  seventli 
ccntains  a  common  chord,  and  that  each  is  formed  by  adding  to  each  com 
mon  chord  a  tone  which  is  the  seventh  from  the  fundamental  note.  Thua 
the  chord  of  the  seventh  of  one  is  formed  by  the  common  chord  of  one,  with 
a  tone  added  to  it  which  is  a  seventh  from  the  fundamental  note,  &c. 


When  a  common  chord  forms  a  part  of  a  chord  of  the  seventh, 
or  of  any  other  chord,  its  tones  must  receive  the  same  treatment 
that  they  would  if  the  common  chord  stood  alone. 


In  the  chord  of  the  seventh  of  seven,  for  example,  the  common  chord  of 
seven,  which  forms  a  part  of  the  chord  of  the  seventh  of  seven,  must  be 
treated  precisely  as  when  that  chord  stands  alone,  or  in  other  words,  pre- 
cisely according  to  the  directions  in  Chapter  XXI. 

Remark.  —  From  this  explanation  of  the  nature  of  chords  of  the  seventh, 
the  student  will  notice  that  he  has  only  to  learn  the  proper  treatment  of  tht 
tone  which  is  the  seventh  from  the  fundamental  note.  With  the  proper  treat- 
ment of  the  other  tones  which  form  chords  of  the  seventh  he  is  already  fa- 
miliar, because  in  all  cases  they  form  common  chords.  Chords  of  the  sev- 
enth are  composed  of  four  tones.  The  first  three  of  these  tones,  in  all  cases, 
is  a  common  chord,  with  which  the  student  is  now  perfectly  familiar.  The 
fourth  of  these  tones  is  "  the  seventh''^  from  the  fundamental  note,  the  proper 
treatment  of  whicfi,  in  the  various  chords  of  the  seventh,  must  now  engage 
the  student's  especial  attention. 

Note. — The  tone  which  is  the  seventh  from  the  fundamental  note  is 
technically  called  simply  "the  seventh."  The  expressions,  "the  seventh 
must  descend,"  "the  seventh  must  resolve,"  &-c.,  mean  that  "the  tone 
which  is  a  seventh  from  the  fundamental  note"  must  descend,  &c.  The 
student  must  take  particular  notice  that  all  remarks  about  the  seventh  apply 
exclusively  to  that  one  tone  which  is  the  seventh  from  the  fundamental  note. 
As  the  other  tones  included  in  a  chord  of  the  seventh  always  form  acommoft 
chord,  and  as  the  subject  of  common  chords  has  been  fully  treated  and  dis- 
po.sed  of,  it  is  of  course  altogether  unnecessary  to  say  anything  further  about 
them. 


All  sevenths    are  discords  of  the  second  or  third  class.     [See 
page  44.] 


108  CHORD    OF    THE    SEVENTH    OT    T. 

The  chord  of  the  seventh  of  I  is  composed  of  a  major  common 
chord  and  a  major  seventh.  It  is  called  a  Major  Chord  or  the 
Seventh. 

The  chord  of  the  seventh  of  II  is  composed  of  a  minor  common 
chord  and  a  minor  seventh.  It  is  called  a  Minor  Chord  of  the 
Seventh. 

The  chord  of  the  seventh  of  III  is  composed  of  a  minor  common 
chord  and  a  minor  seventh.  It  is  called  a  Minor  Chord  of  the 
Seventh. 

The  chord  of  the  seventh  of  IV  is  composed  of  a  major  common 
chord  and  a  major  seventh.  It  is  called  a  Major  Chord  of  the 
Seventh. 

The  chord  of  the  seventh  of  V  is  composed  of  a  major  common 
chord  and  a  minor  seventh.  It  is  called  the  Chief  Chord  of  the 
Seventh. 

The  chord  of  the  seventh  of  VI  is  composed  of  a  minor  common 
chord  and  a  mmor  seventh.  It  is  called  a  Minor  Chord  of  the 
Seventh. 

The  chord  of  the  seventh  of  VII  is  composed  of  a  diminished 
common  chord  and  a  minor  seventh.  It  is  called  a  Diminished 
Chord  of  the  Seventh. 

The  chords  of  the  seventh  of  I  and  IV  are  major  chords  of-  the 
seventh. 

The  chords  of  the  seventh  of  II,  III  and  VI  are  minor  chords  of 
the  seventh. 

The  chord  of  the  seventh  of  V  is  the  chief  chord  of  the  seventh. 

The  chord  of  the  seventh  of  VII  is  the  diminished  chord  of  the 
seventh. 


CHAPTER   XXXVn. 


chord  of  the  seventh  of  v. 


In  the  chord  of  V7  the  seventh  is  a  discord  of  tlie  second  claesL 
It  must  descend,  but  does  not  require  a  preparation. 


CHOUD    OF    THE    SB:VENTH     OF    V. 


109 


This  is  by  far  the  most  important  of  the  chords  of  the  seventh.  It  is  met 
vith  in  common  music  almost  as  frequently  as  the  common  chords,  while  the 
Dther  chords  of  the  seventh  are  of  comparatively  rare  occurrence  In  some 
English  works,  the  chord  of  I  is  called  the  chord  of  the  tonic;  the  chord  of 
II,  the  chord  of  the  super-tonic;  the  chord  of  III,  the  chord  of  the  mediant; 
the  chord  of  IV,  the  chord  of  the  sub-dominant ;  the  chord  of  V,  the  chord 
of  the  dominant ;  and  the  chord  of  VI,  the  chord  of  the  super-dominant. 
In  these  works,  the  chord  of  the  seventh  of  V,  is,  of  course,  called  the  chord 
of  the  seventh  of  the  dominant,  or,  for  the  sake  of  brevity ,  the  chord  of  the 
dominant  seventh.  In  German  works  this  chord  of  the  seventh  is  called 
Haupt  Septimen  Accorde,  or  chief  chord  of  the  seventh. 

In  the  chord  of  V7  the  seventh  may  be  repeated  and  resolve  in  a 
different  part. 

For  example,  if  the  seventh  appears  in  the  alto,  the  chord  may  be  rep  at 
pd,  and  the  seventh  appear  in  the  treble,  or  the  tenor,  or  the  base,  and  there 
resolve  In  the  following  example,  in  the  first  chord,  the  seventh  is  in  the 
a  to.  The  second  chord  is  a  repetition  of  the  first,  and  in  it  the  seventh  ap- 
pears in  the  treble,  and  there  resolves,  consequently  it  resolves  in  a  different 
part  fiom  that  in  which  it  first  makes  its  appearance.  In  most  chords  of  the 
seventh,  the  seventh  must  resolve  in  the  part  in  which  it  first  appears,  and 
the  chord  cannot  be  repeated  ;  but  this  liberty  is  allowed  in  the  chord  of  V7. 


]Ei=?EEB 


m 


ii^^im 


1 
V7 


When  the  chord  of  Y^  resolves  to  the  second  form  of  the  com- 
Hon  chord  of  I,  the  seventh  is  allowed  to  ascend. 


[ro] 


110 


CHORD    OF    TUE    SEVENTH    Ol      V. 


This    is  the   only  case   in  which  the  seventh  is  allowed  to  ascend,  in  anj 
chord  flf  the  seventh  in  the  major  scale. 


Chord  of  V 7, first  ChordofV7,8ec- 
form,  in  the  ond  form,  in  the 
key  of  C.  key  of  C. 


Chord  of  V 7,  third 
form,  in  the  key 
ofC. 


Chord  of  V7, 
fourth  form, 
in  thekey  of  C. 


-»— 
•' — 
■| — 

-It 


2 

V7 


:^zz: 


eee£ 


''1 

3 
V7_ 


#  - 

j#_ 

• — - — 1#- 

4 

V7 

^_ 


The  chord  of  V7  in  both  the  major  and  minor  scales,  is  com^ 
posed  of  a  major  common  chord,  with  a  tone  which  is  a  minor 
seventh  from  the  fundamental  note  added  to  it,  consequently  the 
chords  of  V7  in  both  the  major  and  minor  keys,  are  alike,  and 
must  receive  precisely  the  same  treatment.  Practical  Exercises 
16 — 21  contain  examples  of  this  chord  in  both  the  major  and  minor 
keys. 

Chord  of  V7  in  the  key     Chord  of  V7  in  the  key 
ofG. 

-H- 

3=^ 


Chord  of  V7  in  the  key 
ofF. 


:t^=: 


s 
V7 


■0- 
4 
V7 


Chord  of  V7  in  the  key     Chord  of  y7  in  the  key 
of  A  minor. 

-- J— I— I- 


'    %    \    \ 

Chord  of  V  7  in  the  key 
of  D  minor. 


CHORD    OF    THE    SEVENTH    OF    V. 


Ill 


Play  the  chord  of  V  7  in  the  four  forms,  as  in  the  above  examples,  in  all 
the  keys,  major  and  minor.  ' 

Remark. —  As  a  chord  of  the  seventh  contains  four  tones,  it  nr  iist  of  course 
have  four  forms.     [See  Chapters  XIV  and  XLIX.] 

When  the  chord  of  V7  is  followed  hy  the  chord  of  I,  one  of  the 
chords  must  be  incomplete. 


;i--J-=tfp==?c=8: 


1 


iiiiiliiiii^iiii 


Vt 


V7 


In  the  first  of  the  above  examples  V 7  is  complete,  and  I  is  incomplete. 
As  B,  which  is  the  leading  note,  must  ascend,  and  F,  which  is  the  seventh, 
must  descend,  it  will  be  seen  that  it  is  impossible  to  have  a  fifth  (G)  in  the 
chord  of  I.  In  the  second  of  tbe  above  examples,  V7  is  incomplete,  having 
no  fifth  (D)  in  it,  and  I  is  thus  made  complete.  When,  in  succeeding  exer 
cises,  the  student  is  required  to  write  the  progression  V7  I,  he  can  take  hil 
choice  which  to  make  incomplete. 


Add  to  the  questions  on  pages  68,  81  and  87,  the  following  : — 
13.     Is  the  seventh  rightly  used  ? 

Write  Practical  Exercise  No.  16  in  Close  Harmony,  with  Own  Melody 
according  to  the  directions  in  Chapter  XXVIII,  taking  especial  care  tha 
V7  is  correctly  used. 

Practical  Exercise  No.  16- 


liiiEgtiiiifgigiiig 


6  #6 
i 


^^m^^wMMm 


H  ^  i    J!  ^^i 


s 


^67 


112 


CHORD    OF    THE    SEVENTH    OF    T. 


iiii-iiS3irggriii£iii 


6      # 


6  C 

5       b5 


^4      6 


6       6      6 
5 


V 


nz:i]:i::J:-i:i7=!=z| 


■■-      -      -  b7     6  be 


#6       6        7 
4 


Write  Practical  Exercise  No.  16  with  Given  Melody,  in  Close  Harmony. 
Melody  of  Practical  Exercise  No.  16. 


ti 


ri:^-:»i:^-^.i 


^igamiigiiJiigig 


pr-^f 


Write  Practical  Exercise  No.  16  in  Dispersed  Harmony. 

Write  Practical  Exercise  No.  17  in  Close  Harmony,  with  Own  Melody. 


Pr.\ctical  Exercise  No.  17. 


i^|g;^s3^^^===^^^ 


#«      #^|      t»b5        I 


#6^1  6     ##|      8#6        ^1 


CHORD    OV    THE     oEVENTH    OF    V. 


iia 


-. — I — r 
:Ez:E 

6  #6 


6      6      7 

4 


4      6     £[6 


^4 
2 


#6 


g: 


n — ^"i ^"i~i — rr 


>j:i!:4        6      6   ^5      6 


^6      (i      5 


^6      6      5 

4      ?r 


^6      6      7 
4 


=L=^E!3;EiFB=EFt^^F"£EI?EB-IEPi£?EI 


e     5    # 

5 


— * — i:i~si:^ 


gg 


#66667 


iii-sa 


6        6        7 


Write  Practical  Exercise  No.  17  with  Given  Melody,  in  Close  Harmony. 


Melody  of  Practical  Exercise  No.  17. 

-4-  ItH- 


:izc. 


^IlI^ilfegg^gEjl*:^ 


Ff^i 


Ft?3?^^gSiS 


:=:lT:~[i:T:r::: 


n — ^' 


gE^EEEEBEE^EEEIEESE'iliE^EEEEEE 


[10'] 


*I4  CHORD    OF    THE    SEVENTH    OF    V. 

Write  Practical  Exercise  No.  17  in  Dispersed  Harmony. 

Write  Practical  Exercise  No.  18  in  Close  Harmony,  with  Own  Meljdy 

Pkactical  Exercise  No.  18. 


G       6       4       6 

4        2 


S; 


mmsmm^Ts^m 


7       6 


|66'  #4       6    #6  B66 

|.^— f— »— ^r^ r-i — ^' — ^^-r-t — f— 4t*— ^—  7- 


n 


mMSimi^lM^M 


/i 


G      n 
5 


6       r> 
3 


^.___ 


sii^i^^igpliiiPE-iiO 


S    ' 


^5 


6 

4 


Write  Practical  Exercise  No.  18  in  Close  Harmony,  with  Given  Melodv 
Melody  of  Practical  Exercise  No.  18. 


CHORD    OF    THE    SEVENTH    OF    T. 


115 


iiin^iEips^ 


#- — 


e-f-i 


mm^^mm^ 


E:=EEEI 


'-^^wmM^mi 


M^M 


»3i 


wm^ 


g^i^g^iiiioB 


Write  Practical  Exercise  No.  18  in  Dispersed  Harmony. 
Write  Practical  Exercise  No.  19  in  Close  Harmony,  with  Own  Melody. 
Practical  Exercise  No,  10. 

6      6     #         ^4      6      6 


I  1  «      **^.      «^| 


M  I         ^1         M^5     «tf6  6i|         1,5     6fl^ 


n   ^  ■# 


^      '  H    #     ^     ^ 


Jib  CHORD    OF    THE    SEVENTH    OF    V. 


fiiii?isg;?l§s:iiS^lgEl 


fi  €^7    fi    7    fi    7 


5      7 

4     *r 


5  4  5 


Write  Practical  Exercise  No.  19  in  Close  Harmony,  with  Given  Melody. 
Melody  of  Practical  Exercise  No.  19. 

Write  Practical  Exercise  No.  19  in  Di.-^persed  Harmony. 

When  the  chord  of  V7  is  followed  by  the  chord  of  V7  in  another 
key,  it  is  not  necessary  for  the  seventh  to  resolve. 


CHORD    OF    THE    SEVENTH    OF    V. 


117 


2  4 


@: 


^liiif 


I      i 

In  the  above  example  the  first  chord  is  the  chord  of  the  seventh  of  five  in 
he  key  of  C.  The  seventh  (F)  does  not  resolve  according  to  rule,  but 
ascends  to  G,  when  according  to  the  rule  it  should  descend  toE.  The  pro- 
gression, however,  is  correct,  because  the  second  chord  is  also  the  chord  of 
the  seventh  of  five,  although  in  another  key  (the  key  of  F.) 

Write  Practical  Exercise  No.  20  in  Close  Harmony,  with  Own  Melody, 

Practical  Exercise  No.  90. 


m^m^mmmsmm 


i^^ 


6      7 


bbe     7    b5     6      6      6      {5^5 
4  P5  ^ 

'^-^     ^-     ^       4      ^       (f      6       6    ^     7  ^     - 


b      5 


6      6 

4 


i_      l_ 


lil-3lSli?ii&!SiiP[f 


6        «        6        7 


Write  Practical  Exercise  No.  20  in  Close  Harmony    with  Given  Melody. 


lis  CHORD    OF    THE    SEVENTH    OF    V. 

Melody  of  Practical  Exercise  No.  20. 

Write  Practical  Exprci>e  No.  29  in  Dispersed  Harmony. 

Write  Practical  Exercise  No.  21  in  Close  Harmony,  with  Own  Melody. 

PkACTICAL  EXKRCISE  No.  21. 


6      6  #4      6 

4      'i 


4?     6X6     ^ii4      6       § 


islgpgii'Iilgiigiiif 


ii4       6      4 
^2  iJ 


4      2 


esiiiiiiiiiigsiigiiii 


5  ' 


f,       fi       4       6       * 

4      2  fe; 


*!  *  I 


i 


-«?,•': 


*  % 


^5      4      X 


CHORD    OF    THE    SEVENTH    OF    V. 


liQ 


i 


«       %      ^ 


7      6       7      6;^ 


Write  Practical  Exercise  No.  21  in  Close  Harmony,  with  Given  Melody. 


Melody  of  Practical  Exercise  No.  21 


igiiigigiis^ 


-#-« 


!gfc_irz-J:::zT:l-pz:r±tT;riTz:rf_:zf:li:^:^i-gitr 

Write  Practical  Exercise  No.  S»l  in  Dispersed  Harmony. 

The  Pillovvinor  is  Practical  Exercise  No.  16,  with  Given  MeMy.  It  is 
presumed  the  student  has  already  written  it,  and  he  should  now  (  ompar^  hia 
txercise  with  this,  and  see  if  it  corresponds,  and  if  not,  notice  if  the  i/^ria- 
lions  are  violations  of  rules,  or  non-essential  differences. 


-^-^ 


-*..« 


120 


CHORD    OF    THE    SEVENTH    OF     V. 


Key  of  C 


I  Key  of  G.  I  Key  of  C. 


Key  of  A 
minor.    |  Key  of  G 


*s 


iiiEgE*ifisi:iii?=f 


4       2 
V7      I 


3        1 

Y^     I 


4       2 
V7      I 


3 
V7 


VI 


I     Key  of     I     Key  of     I     Key  of     I     Key  of     I 

1  D  minor.   |   A  minor.   |   E  minor.   |   D  minor.   |  KeyofC 


1111 

IV      Vt     I        I 


4       2 
Vt     I 


1         1 
V7      I 


4       2  4       2       4      2 

V7     I  V7      I       Vt    I 


Key  of  G.  |  Key  of  F.  |  Key  of  C.  |  Key  of  A  minor. 

-A ^-r-^ — 


^  1)7  5,6  (I       *  B        4       *^ 

;E?EEeEasE!EI,=sEtE^5^lEzPEpFE^ 


1       1 
V7    I 


1       1 
V7     I 


VI      II 


Vt 


I    Key  of  G.  I   Key  of  F.  |  Key  of  C. 


-0—\ 
■\0—\ 
-»— 


iE^ii?^^ 


«t,i 


m^^mmM 


1      1 
I      I 


-i     1 
V7   I 


2        14       2       2       2       2 

V7  I     V7   I     II    m    IV 


3     1 
Vt    I 


CHORDS    OF    THE    SEVENTH    OF    THE    MINOR    SCALE.  121 

I  Key  of  I  I  [Key  of  I 

IC  minor.!   KcyofC.       iKeyofF.   iFminor.  |  KeyofC, 

Jl  ,1  II  IIJI:  .  

-•-  *  -0-  -0-    -&- 


-i r-  -i ^ 


L   I 


T-ri — r 


i 9 

11  1       'l  12  3        1113  3  1 

VI      III        IV      II         V    #IV         I        Vt      I       V7      I  I  I 


Remark.  — The  rule  has  been  given  that  a  chord  must  not  stand  alone 
!n  a  key,  but  that  either  the  churd  next  before  or  after  it  must  be  in  the 
same  key,  and  two  or  three  exceptions  to  this  rule  have  been  stated.  It  is 
frequently  the  case  that  a  chord  belongs  to  one  key  when  considered  in  rela- 
tion to  the  chord  b  fore  it,  and  in  another  key  when  considered  in  relation 
to  the  chord  which  comes  after  it. 


The  last  chord  in  a  tune  must  be  m  the  same  key  with  the  first 
chord  in  tlie  tune. 


According  to  this  rule,  the  last  chord  in  Practical  Exercise  No.  16  is  the 
chord  of  I  in  the  key  of  C  Considered  in  relation  to  the  chord  which  goes 
before  it,  however,  it  is  the  chord  of  V  in  the  key  of  F  minor,  i.  e  ,  it  is 
both  the  jhord  of  I  in  the  key  of  C,  and  the  chord  of  V  in  the  key  of  F 
minor,  j^  pparently  the  last  chord  but  one  stands  ah-ne  in  the  key  of  F  minor, 
but  in  re.'.iity  it  is  followed  by  another  chord  (the  chord  of  V)  in  the  same 
key. 


CHAPTER   XXXVIII. 


CHORDS    OF    THE    SEVENTH    OF    THE    MINOR    SCALE. 


-T 1 i ±Z ' ±Z-^ g— I 


i=i=^i^i^s=H 


~i- — % — m' — -S- — 9 — gS — ^ — ^ — 'f 


122  CHORD    OF    THE    SEVENTH    OF    THE    MINOR    SCALE. 

The  chord  of  the  seventh  of  I  in  the  minor  scale,  is  compc  BCf. 
of  a  minor  common  cliord  and  a  major  (or  large)  seventh.  Ii  is 
called  a  Minor  Large  Chord  of  the  Seventh. 

The  chord  of  the  seventh  of  II  is  composed  of  a  diminished 
common  chord  and  a  minor  seventh,  it  is  called  the  Diminished 
Chord   of  the   Seventh. 

The  chord  of  the  seventh  of  11^4  is  composed  of  a  major  dimin- 
ished common  chord  and  a  minor  seventh.  It  is  called  the  Major 
Diminished  Chord  of  the   Seventh. 

The  chord  of  the  seventh  of  III  is  composed  of  a  snperfluons 
common  chord  and  a  major  seventh.  It  is  called  the  Superfluous 
Chord  of   the  Seventh. 

The  chord  of  the  seventh  of  IV  is  composed  of'a  minor  common 
chord  and  a  minor  seventh.  It  is  called  a  Minor  Chord  of  thk 
Seventh. 

The  chord  of  the  seventh  of  #IV  is  composed  of  a  donble  dimin- 
ished common  chord  and  a  diminished  seventh.  It  is  called  the 
Triple  Diminished  Chord  of  the  Seventh. 

The  chord  of  the  seventh  of  V  is  composed  of  a  major  common 
chord  and  a  minor  seventh.  It  is  called  the  Chief  Chord  of  the 
Seventh. 

The  chord  of  the  seventh  of  VI  is  composed  of  a  major  common 
chord  and  a  major  seventh.  It  is  called  a  Major  Chord  of  the 
Seventh. 

The  chord  of  the  seventh  of  VII  is  composed  of  a  diminished 
common  chord  and  a  diminished  seventh.  It  is  called  the  Double 
Diminished  Chord  of  the  Seventh. 

No  two  chords  of  the  seventh  in  the  minor  scale  are  alike. 

The  chord  of  the  seventh  of  II  in  the  minor  mode  is  like  the 
chord  of  the  seventh  of  VII  in  the  major  mode. 

The  chord  of  the  seventh  of  IV  in  the  minor  mode  is  like  the 
chords  of  the  seventh  of  II,  III  and  VI  in  the  major  mode. 

The  chord  of  the  seventh  of  V  in  the  minor  mode  is  like  thecho"  \ 
of  t  \e  seventh  of  V  in  the  major  mode. 

The  chord  of  the  seventh  of  VI  in  the  minor  mode  is  like  th« 
cko-  Is  of  the  seventh  of  I  and  IV  in  the  major  mode. 


DOUBLE    DIMINISHED    CHORD    OF    THE     SEVENTH. 


123 


CHAPTER    XXXIX. 

THE    DOUBLE    DIMINISHED    CHORD    OF    THE    SEVENTH. 

The  most  important  chord  of  the  seventh  in  the  minor  mode,  is  the  (herd 
of  the  seventh  of  five.  As  this  chord  is  precisely  like  the  chord  of  the  seventh 
of  five  in  the  majnr  mode,  exercises  upon  it  have  been  introduced  incoi/nec- 
lion  with  the  chord  of  the  seventh  of  five  in  the  major  scale,  and  the  student 
is  now  presumed  to  be  familiar  with  this  chord  in  both  the  major  and  minor 
scales.  The  chord  of  the  seventh  which  may  perhaps  be  ranked  next  in  im- 
portance to  the  chord  of  the  seventh  of  five,  is  the  chord  of  the  seventh  of 
seven  in  the  minor  mode,  (the  double  diminished  chord  of  the  seventh). 

In  the  chord  of  VII7  in  the  minor  mode,  the  seventh  is  a  discord 
of  the  second  class.  It  must  descend,  but  does  not  require  a  pre- 
paration. Like  the  chord  of  V7,  [see  page  109,]  this  chord  can  be 
repeated,  and  the  seventh  can  resolve  in  another  part  than  that  iu 
which  it  first  makes  its  appearance. 


Chord  of  VII 7  in  the 
key  of  A  minor. 


Chord  of  VII 7  in  the 
key  of  E  minor. 


ChordofVIl7  in  the 
key  of  D  minor. 

_   I        I        I 

« — « — «- 
— « — « — i- 

12       3       4 
VII7VII7VII7  VII7 


S 


Phf  the  chord  of  VII 7  in  every  minor  key.  It  will  be  noticed  that  this 
chord  is  not  fiund  in  the  major  scale,  i.  e.,  there  is  no  double  diminished 
chord  of  the  seventh  in  the  major  mode. 


PtEMARK.  —  It  will  perhaps  aid  the  student  somewhat,  to  notice  that  if  a 
chord  is  a  double  diminished  chord  of  the  seventh,  (i.  e.,  if  it  is  composed 
of  a  diminished  common  chord  and  a  diminished  seventh,)  it  is  alwaya 
the  chord  of  VII7.  If  a  chord  is  a  chief  chord  of  the  seventh,  (i.  e.,  if  it  is 
2omposed  of  a  major  common  chord  and  a  minor  seventh,)  it  is  always  the 
fhord  of  V7.  In  such  cases  there  can  of  course  be  no  difficulty  in  deciding 
what  the  key  is. 

Note  —  As  the  common  chord  in  the  chord  of  VII7  is  a  di!<ninished 
common  chord,  there  will  of  course  be  three  tones  in  the  chcwd   >f  VII 7 


124 


DOUBLE    DIMINISHED    CHORD    OF    THE    SEVENTH. 


which  have  a  fixed  resolution,  viz.,  the  fundamental  note,    (which  is   the 
leading  note,)  the  fifth,  (which  is  a  diminished  fifth,)  and  the  seventh. 

Write  Practical  Exercise  No.  22  in  Close  Harmony,  with  Own  Melody, 
taking  especial  care  that  the  double  diminished  chord  of  the  seventh  (Vll-r) 
is  correctly  used. 

Practical  Exercise  No.  23. 

^1      6  6      7     #b7     ^k7  G      7  ^4 


6     I     #|>7     ^p7 
^         ^5  P5 


^--! 


giif^sipggiiigi 


3  #*•!      ##^ 


4      6  #6 
t> 


gliSSEsiiiigs-igif 


^=f*6      :^4i4       64^6       6       7 


I  Ji^  =^1  =*^5        '  ^'^   ^1 

^3 


r±ziC--»d:?:i*ij--:^:ln.=nin:ri:in.in:J^:^-l#-:#zl 


^4      4       7      4  ^4 
3  3 


Write  Practical  Exercise  No.  22  in  Close  Harmony,  with  Given  Melody. 


Melody  of  Practical  Exercise  No.  22. 


s^sssii^if^if 


i^3! 


^eiSgi^ 


DOUBLE    DIMINISHED    CHORD    OF    THE    SEVENTH. 


125 


ipiiiiiiHisgjiiis 


Write  Practical  Exercise  No.  22  in  Dispersed  Harmony. 

In  both  the  chief  and  the  double  diminished  chords  of  the  seventh, 
the  seventh  can  remain  stationary,  but  must  resolve  when  it  leaves 
the  degree  of  the  scale  on  which  it  first  appears. 


m 


\[ ^ 


^- 


VII 7  IV 


:~9' 


:^: 


mm 


Vt 


Tn  the  first  measure  of  the  above  example,  the  first  chord  is  the  double  di- 
minished chord  of  the  seventh.  The  seventh  is  F.  In  the  second  chord 
the  F  remains.  In  the  third  chord  the  treble  no  longer  has  F,  and  so  it 
(the  treble)  resolves  just  as  it  would  have  done  if  the  second  chord  had  not 
intervened.  If  several  chords  had  intervened  between  the  first  chord  and 
the  chord  which  resolves  the  seventh,  (i.  e.,  the  third  chord.)  it  would  have 
been  correct,  provided  the  part  which  has  the  seventh  remained  upon  the 
same  degree  of  the  scale,  (i.  e  ,  provided  the  treble  had  remained  upon  F.) 
In  the  second  measure,  the  chief  chord  of  the  seventh  is  treated  in  the  same 
manner. 


Write  Practical  Exercise  No.  23  in  Close  Harmony,  with  Own  Melody. 
Practical  Exercise  No.  23. 


m- 


w 


6  =It*'     •i  "       ~ 


[11*] 


I      ^      ^^^ 


7      4 


:^     '6   ^7  6  ^7 


i2(r 


DOUBLE    DIMINISHED    CHORD    OF    THE     SEVENTH. 


mmMmm^m 


6  6  #6     '6  4^6      6        7      6  #5 


r 

6     6    6  6 

5    4  5 


jji    4         5^5 


g#-        6  ^7  6=^f-        6     7 


te7 


6      ^^?"      #6    6-        6#6    #^6tef7        4f6     6       #    6    #     ^* 
4  ffi     7  4  ^5  7     4 

Write  Practical  Exercise  No.  23  with  Gi\en  Melody,  in  Close  Harmony. 

Melody  of  Practical  Exercise  No.  23. 


?3lisiia|lgl§il£ia 


-i — ^^ — ^. 


Write  Practical  Exercise  No.  23  in  Dispersed  HarnK  ny. 

Write  P'acticai  Exercise  No.  24  in  Close  Harmony,  with  Own  Melody 


DOUBT^E    DIMINISHED    CHORD    OF    THE    SEVENTH. 


Practical  Exercise  No,  24. 


127 


#     6      7 


I' 


5       5 


X6         :tt       ##4     6    ^7         #4      6      7  ^      %| 


#^     6^7 


*S 


6^7     ##4      6      7     ##4     6  #6 
^  «fr  ^ 


ssgggsiL^iiigil 


##4      6X6      6     ^  ^7  #6 

^4  ^5 


6       #   #4         # 
5  ^ 


Write  Practical  Exercise  No.  24  with  Given  Melody,  in  Close  Harmony. 


Melody  of  Practical  Exercise  No.  24. 

i-#-^T T — T r rri — i-in — i-rn— n-r  j— n: 


^gliJiiiSifS^I 


128  DOUBLE    DIMINISHED    CHORD    OF    THE    SEVENTH. 

-#.-:#r-'-^- 


3zi=-pirl-r-_c:i:rzzr 


Write  Practical  Exercise  No.  24  in  Dispersed  Harmony. 

A  discord  which  does  not  require  a  preparation  need  not  resolve 
when  the  chord  which  contains  it  is  followed  by  the  double  dimin- 
ished chord  of  the  seventh. 


■i 


r— » P«. 


©— j 


V7        VHt 

In  the  above  example,  the  first  chord  is  the  chord  of  V^  in  the  key  of  C. 
The  second  chord  is  the  chord  of  VII 7  in  the  key  of  F  minor.  F  in  the 
first  chord  is  a  seventh,  and  is  a  discord  which  does  not  require  a  prepara- 
tion. It  does  not  resolve,  because  the  chord  which  contains  it  is  followed 
by  the  double  diminished  chord  of  the  seventh. 

Write  Practical  Exercise  No.  25  in  Close  Harmony,  with  Own  Melody 
Pkactical  Exercise  No.  25. 

6 


^6 

b5 


DOUBLE    DIMINISHED    CHOKD    OF    THE    SEVENTH. 


129 


67  6b7  66  tf6  6      6^ 

*  5  4      7 


^r     run    i  ^ 
_p— r:t#:zf:z?:: 

^5  4      7 


^feibl-^;:FE3EEtEE«ZEFE=E^iEE*£^Ei 

^-*  6  6       ^   ^6  6  6       i^ 

^6     [,1  ^6       G      ■•'^6     [j7  6       6       6      6     6 

^    b5  i     b5  ^    . 

§       5    ^6  ^6   b7       b       6      b    b5      K  bs  bb'7bb4  b7 

3  bs  ^  b      ®    ^ 

4  .»        -  ^  [J 


6       7  6      6      7       te6      6      G      G    "•"  4 

4  ^447  g 


4 

b 

Ixercise  No.  25  in  Close  Harmony,  with  Given  Melody 


Write  Practical  E 

Melody  of  Practical  Exercise  No.  25 


Melody  of  Practical  Exercise  No.  25. 

— fc-E — i — i — i~ri — I — i~rH — !  — l~rz! — ' — '"c 1 

I  I      . 


'^^fE^U=t^'E^.E^^EW^ip^ 


130 


DOUBLE    DIMINISHED    CHORD    OF    THE    SEVENTH. 


i^^iiiii{ii}ii=ggf 


Write  Practical  Exercise  No.  25  in  Dispersed  Harmony. 

KEMAUKABLE    PROPERTIES    OF     THE     DOUBLE     DIMINISHED     CHORD    OF   TUB 
SKVENTII. 

Each  tone  of  the  double  diminished  chord  of  the  seventh  can  le 
taken  for  a  fundamental  note. 


No.  1. 


^^ 


0 — ^- 1 1_. 


■M- 


i 


Each  of  the  above  chords  is  the  chord  of  VII 7,  and  each  is  composed  ol 
the  same  tones.  In  the  first  measure  the  tones  of  the  four  chords  rema^i  in 
the  same  position,  so  that  if  played  on  a  piano  it  will  be  simply  striking  the 
same  tones  four  times.  The  chords  in  the  second  measure  are  the  same  as 
those  in  t^e  first    but  arranged  so  that  the   fundamental  rot£  ia  the   lowest 


DOUBLE    DIMINISHED    CHORD    OF    THE    SEVENTH. 


Ul 


-one  of  each  chord.  T'he  first  chord  in  the  above  example  is  the  chord  of 
VII 7  in  the  key  of  A  minor.  The  second  chord  is  the  chord  of  ¥117  '"  t^^a 
key  of  C  minor.  The  third  chord  is  the  chord  of  VII 7  in  the  key  of  Ejj 
Qiinor.     The  fourth  chord  is  the  chord  of  VII 7  in  the  key  of  F#  minor. 


No.  9. 
Key  of  A  minor. 


Key  of  C  minor 
± 


Key  of  E\)  minor. 

6: 


VII 7 


Remark  on  Modulation,  —  Modulation  means  a  transition  from  one  kej 
Jo  another.  It  is  always  desirable  to  make  this  transition  with  as  little  ab- 
ruptness as  possible.  If  none  of  the  tones  of  the  chord  which  makes  the 
modulation  beJong  in  both  keys,  the  modulation  will  be  very  abrupt.  The 
more  tones  there  are  in  the  chord  which  makes  the  modulation,  which  belong 
in  both  keys,  the  m<xe  easy  and  natural  will  the  modulation  be. 


No,  3. 


:iE5rj 


H-ir-i- 


«•-  -w- 


Sif-glElil^ 


12        13 
I       11       V      V 


1        S         2        I 

V     I     vn     I 


2         3         11 
II        I         V        I 


The  above  example  commences  in  the  key  of  C,  and  at  the  fifth  chord  mo- 
dulates to  the  key  of  B.  The  fifth  chord  (i.  e.,  the  chord  which  makes  the 
nifidulation,)  is  composed  of  the  tones  F^,  A^  and  Cfi=,  neither  of  which  be< 
Songs  in  the  key  of  C.  It  will  readily  be  noticed  that  the  modulation  is  verj 
abript  and  unpleasant. 


No.  4, 


-i=S=|zJ-8-f«iJ=:SEI=^^tt 


i— I— ; 


ij^ggil 


5       1 
I      V 


112       1 

V7  VI    n    Vt 


132  DOUBLE    DIMINISHED    CHORD    OV    THE    SEVENTH. 

Tlie  preceding  example  commences  in  the  key  of  C,  and  at  tlie  fiftj  chord 
modulates  to  tlie  i<oy  of  F.  The  fifth  chord  (i.  e  ,  the  chord  which  makes 
he  modulation,)  is  composed  of  the  tones  C,  K,  G  and  B\).  Three  of  these 
.ones  (C,  E  and  G,)  belong  in  hoth  keys,  (i.  e.,  in  the  key  of  C  and  the  key 
ofF,)  and  it  will  be  readily  noticed  that  the  modulation  is  easy  and  natural. 

All  the  tones  of  the  double  diminished  chord  of  the  seventh  l>elongin  four 
dilTerent  keys,  (.-ee  Examples  Nos.  1  and  2,)  it  is  consequently  a  very  useful 
chord  for  modulation. 

12       3        1  1         I        4        S  1  I 

I       II       I       V  I      VII7  VII7    I  V  I 

The  above  example  is  a  modulation  from  the  key  of  A  minor  to  the  key  of 
C  minor.  The  seventh  chord  makes  the  modulation,  and  all  its  tones  Mong 
in  both  keys. 

Note.  — If  the  student  finds  any  difficulty  in  writing  the  following  exer- 
cises, he  can  refer  to  the  scales  in  Chapter  XXIII. 

Write  and  play  a  strain  somewhat  similar  to  the  above,  and  by  means  cj 
the  double  diminished  chord  of  the  seventh 

Modulate  from  the  key  of  A  minor  to  the  key  of  E[j  minor. 
Modulate  from  the  key  of  A  minor  to  the  key  of  Fif  minor. 
Modulate  from  the  key  of  E  minor  to  the  key  of  G  minor. 
IModulate  from  the  key  of  E  minor  to  the  key  of  B\)  minor. 
Modulate  from  the  key  of  E  minor  to  the  key  of  C^  minor. 
Modulate  from  the  key  of  B  minor  to  the  key  of  D  minor. 
Modulate  from  the  key  of  B  minor  to  the  key  of  F  minor. 
Modulate  from  the  key  of  B  minor  to  the  key  of  G^  minor, 
jModulate  from  the  key  of  F4?  minor  to  the  key  of  A  minor. 
Modulate  from  the  key  of  Fi^  minor  to  the  key  of  C  minor. 
IModulate  from  the  key  of  F#  minor  to  the  key  of  Df:  minor. 
Modulate  from  the  key  of  C#  minor  to  the  k(^  of  E  minor. 
Modulate  from  the  key  of  Off  minor  to  the  key  of  G  minor. 
Modulate  froc  the  key  of  C#  minor  to  the  zey  of  A#  minor. 
IModulate  frtrt  the  key  of  C^  minor  to  the  kjy  of  B  minor. 
Modulate  from  the  key  of  G#  minor  to  the  key  of  D  minor 


DOUBLE    DIMINISHED    CHORD    OF    THE    SEVENTH. 

Modulate  from  the  key  of  G#  minor  to  the  key  of  Eir  minor. 
Modulate  from  the  key  of  D^  minor  to  the  key  of  F#  minor. 
Modulate  from  the  key  of  D^  minor  to  the  key  of  A  minor. 
Modulate  from  the  key  of  D^  minor  to  the  key  of  B#  minor. 
Modulate  from  the  key  of  D  minor  to  the  key  of  F  minor. 
Modulate  from  the  key  of  D  minor  to  the  key  of  At?  minor. 
Modulate  from  the  key  of  D  minor  to  the  key  of  B  minor. 
Modulate  from  the  key  of  G  minor  to  the  key  of  B[j  minor. 
Modulate  from  the  key  of  G  minor  to  the  key  of  D^)  minor. 
Modulate  from  the  key  of  G  minor  to  the  key  of  E  minor. 
Modulate  from  the  key  of  C  minor  to  the  key  of  E[;  minor. 
Modulate  from  the  key  of  C  minor  to  the  key  of  G\)  minor. 
Modulate  from  the  key  of  C  minor  to  the  key  of  A  minor. 
Modulate  from  the  key  of  F  minor  to  the  key  of  A[j  minor. 
Modulate  from  the  key  of  F  minor  to  the  key  of  C[j  minor. 
Modulate  from  the  key  of  F  minor  to  the  key  of  D  minor. 
Modulate  from  the  key  of  B^j  minor  to  the  key  of  Dfj  minor. 
3Iodulate  from  the  key  of  Bj?  minor  to  the  key  of  Fb  minor. 
Modulate  from  the  key  of  Bf?  minor  to  the  key  of  G  minor. 
Modulate  from  the  key  of  Ef)  minor  to  the  key  of  G[;)  minor. 
Modulate  from  the  key  of  E^  minor  to  the  key  of  B[j[j  minor. 
Modulate  from  the  key  of  E[?  minor  to  the  key  of  C  minor. 

The  do  jble  diminished  chord  of  the  seventh  is  composed  of  tones 
distant  a  minor  third  from  each  other,  or,  as  it  is  sometimes  ex- 
pressed, of  three  minor  thirds  placed  one  over  the  other.  Although 
this  chord  is  generally  used  according  to  rule,  such  is  the  peculiar 
effect  produced  by  it,  that  it  is  sometimes  used  as  if  all  its  tones 
were  free. 


Practice  i\\e  above  progression  until  able  to  play  it  fluently. 

When  the  double  diminished  chord  of  the  seventh   is  played 
complete,  with  both  hands,  if  the  right  hand  descends  by  half  steps, 
and  the  left  hand  ascends  by  whole  steps,   the  same  tones  (letters^ 
will  be  play  3d  by  each  hand. 
[12] 


134  DOUBLE    DIMINISHED    CHORD    OF    THE    SEVENTH. 

I I I I ^i     I jL.  __      . 


A  change  in  the  character  representing  a  tone  which  does  not 
alter  the  tone  itself,  (as  from  Ab  to  G^,  Git  to  Db,  A-c.^}  is  called 
an  Enhar>ionic  Change. 


Some  writers  t.ike  the  liberty  to  resolve  the  doable  dimint.shed  choral  o! 
the  seventh  to  a  distant  key,  without  making  the  puh.irmonic  ch^nwe.  Th« 
first  chord,  as  written  in  the  following  example,  is  tiie  chord  of  VII7  in  tlie 
key  of  A  minor.  It  is  resolved  at  once  into  the  key  of  V-^jr  misvor,  withvuai 
making  the  enharmonic  change  of  F^  to  E#. 


Concluding  Remark  in  reference  to  the  Double  DiMiNistrKD  Ciiokb 
OF  THE  Seventh.  —  Although  this  chord  is  so  useful  and  effective,  it  is  no< 
easy  to  sing  progressions  in  which  it  is  used,  and  in  cmparison  with  the 
chief  chord  of  the  seventh,  it  is  seldom  used  in  vocal  nmsic. 


I  Key  of  I  KcA'  I    Kev  nf  f  Krv  I   K^y  of  I 
Key  of  D  minor  |A  minor  |  of  A  }  Gminor  [  utO  f  F  iiiiiit^    Key  of  F 

n    .  '    .1    *^l   4l 


12  21  21  111)  11 

I       VII7        I         I  H     VII,       I      VIIt      I      VII7       !      Y1 


DOUBLE    DIMINISHED    CHORD    OF    THE    SEVENTH. 


135 


Key  of  I   Key    I   Key  of  |   Key 
C  minor  |   of  C    |  D  min 

i— H '—^- 


I   Key    I   Key  of  I   Key      I 
•  I  C  minor  |   of  C    |  D  minor  |   ofO      |  Key  of  A  minor 


r  :J  -•-  -*■     •  ,         r     r 


1         J         1        1  3  2  3  2  2  14 

V7     I        V        I         VIIt         I        VII7  I       :^IV  V     VII7 


Key  of  G  minor 


Key  of  F  minor 

I  I        J. 


I   Key   I   Key  of 
I   of  F   I  C  minor 


I 


_i ^ 

3        1        4 
VIIt     I     VII 7 


(    Key  of  D  minor 


VII 7 


2       4 
I     VII 7 


iT — 4P—  p-^-» — . — ^-| r      ( — r    I — I 1 — •■ 


#1 
# # 

zcizrrz: j 


V  i^IV 


3 
VII 7 


3  3        111  14 

V7       IV    VII7    I       V7      VI     VHt 


Key  of  I 
A  minor  |  Key  of  D  minor 


I     Key  of    I  Key 
I    G  minor  |  D  mil 


-I 


^6        fa,  7 

"S==^f3E3=TE=±F^" 


■g— :i=- 


4. 


-.=5,q 


§Epil^H3=Sg^P 


3  2  13  11 

VII7    VII7    VII7    VII7        V7      VI 


2        1        1        S        1        2 
n      V7    VI     V7     I       I 


.86  DIMINISHED    CHORD    OF    THE    SEVENTH. 

I      Key  of      I 

I  •  A  minor     |  Key  of  D 


>}:  i     9  J    ^J:  J:  V  ^^ 


^4        6  6        ^4 


4f»-  3       2  2  13  1  1 

3        3  13  Vt     I  11        VIIt      IV         V7  I 

V7     IV        VII7  IV 

The  above  is  Practical  Exercise  No.  22,  It  is  presumed  the  student  has 
already  written  it,  and  he  should  now  compare  his  exercise  with  this,  and  see 
if  it  corresponds,  and  if  not,  notice  if  the  variations  are  violations  of  rules, 
or  non-essential  differences. 


CHAPTER   XL. 


DIMINISHED    CHORD    OF    THE    SEVENTH. 

The  chords  of  VII7  in  the  major  mode,  and  IT7  in  the  minor 
mode,,  are  diminished  chords  of  the  seventh. 

The  common  cliord  in  the  diminished  chord  of  the  seventh  is  a  diminished 
common  chord.  In  the  chord  of  \'l\i,  in  the  major  mode,  tliree  of  the  tones 
have  fixed  resolutions,  viz.,  the  fundamental  note,  (whith  is  the  leading 
note,)  the  fifth,  (which  is  a  diminished  fifth,)  and  the  seventh.  In  t ho  chord 
of  TI7  two  of  the  tones  have  fixed  resolutions,  viz  ,  the  fifth,  (which  is  a  di- 
nini.s!>ed  fifth,)  and  the  seventh. 

In  the  diminished  chord  of  the  seventh,  the  seventh  is  a  discord 
of  the  second  class.  It  mnst  descend,  but  does  not  re(iiiire  a  pre- 
paration. Like  the  chord  of  V7,  (see  page  109,)  this  chord  can  be 
-e,peated,  and  the  seventh  can  resolve  in  another  i)art  than  that  in 
•vhich  it  first  makes  its  appearance. 

Although  the  same  liberties  are    allowed  this  chord  that  are  allowed  th« 
hief  chord  of  he  seventh,  it  is  usually  used  in  conformity  with  the  rules. 

Write  Practical  Exercise  No.  2G  in  Close  Harmony,  with  Own  Melody, 


dijiinished  chord  of  the  seventh. 
Practical  Exercise  No,  26. 


137 


ii^iH^^giS=^fiiil]i 


n 


«   #6 

i 


i^^Ep^gi:3irE^;E|s^|p: 


^7 


i^r^mzm^m^ 


6    #6 


6    #4     #4       6    #6    4^6 


6    #6 


):#- 


:p=q:,  ^ 


EigilPilEpS 


;} 


^5 


4    be    ^4    ^5 


#4       6 

b 


7 

b5 


^ff \ 


-1— n-^"-f  ^-^•-'t^^  Fr-  r-^F^-r*--^-B-=3-p4 

j,:iHx_[:rz:-rzzp[:r-rir^-[:r-r=|#z[:!^i.^zirr:}: 

7  b7      K      7    ^5    [,7      b    b7    he      # 

5  b5  fe}       4 

I — \~^ — d     ~~r L r — ! — 1    I 

EJzEEEZEfFEFf^E3j3EiEJ 
i  ^        i    i 


■7-lz\ 


SEPEEE^EE 


PiEMAUK.  —  Some  writers  allow  a  discord  which  does  not  require  a  ]  ire- 
paiation  to  be  used  without  a  proper  resolution,  when  there  is  a  tone  t<j 
which  it  could  resolve  in  the  next  chord.  In  the  last  chord  but  one,  in  Pi  ac 
tical  Kxercist!  No.  26,  the  base  is  the  seventh  in  the  chord  of  V7  Accc  rd 
ing  to  rule  it  should  go  to  B,  but  as  there  is  a  B  in  the  chord,  although  is 
another  part,  the  liberty  is  taken  to  make  it  go  to  G  Such  a  license  is 
however,  seldom  taken  by  the  beat  composers. 
[12»] 


138  SEVENTHS  WHICH  NEED  A  PREPARATION. 

Write  Practical  Exercise  No.  26  with  Given  Melody,  in  Clos    Harmony. 
Melody  of  Practical  Exercise  No.  26. 


iiEgyE|||gi|t^g^|Eg 


!-=ES;EEgEEEEEEEEEEgE=EEEI 


:*-&fJiE&iE»E?=fe: 


I r 


tE^EEEE 


;^=M 


-dizJ^P^: 


^=1 

EEf 


Write  Practical  Exercise  No.  26  in  Dispersed  Harmony. 


CHAPTER    XLT. 

SEVENTHS    WHICH    NEED    A    PREPARATION. 

The  seveiitlis  in  the  major,  minor  and  superflnous  d  ords  of  the 
BBVjnth,  are  discords  of  the  third  class.  [See  pages  44  am  71  ] 
Til  3y  must  be  pre]>ared.  and  descend  one  degree. 


SEVENTHS    WHICH    NEEI*    A    PREPARATION. 


139 


The  chords  <  fly  and  IV  7  in  the  major  mode,  and  Vly  in  the  minor 
mode,  are  major  chords  of  the  seventh  ;  II7,  III7  VI7  in  the  major  mcde, 
and  IV 7  in  the  minor  mode,  are  minor  chords  of  the  seventh  ;  and  III  7  in 
the  minor  mode  is  a  superfluous  chord  of  the  seventh.  The  sevenths  in  tJ  ese 
chords  therefore  must  be  prepared  and  descend  one  degree. 


Kej'  of  C. 


m 


I       I      I 


II 7 


1 


F- 


EM 


liFg 

III  7 

:EEiF-EFSEEFE 


iSSifesFS^EFeElF 


r 


IV  7 


■4^i=i 


^Fg 


In  the  above  exercise  an  example  is  given  of  each  of  the  above-mentioned 
chords  of  the  seventh,  prepared  and  resolved.  Of  course  the  preparation  and 
resolution  can  be  effected  in  several  different  ways,  it  being  only  necessary 
that  a  chord  should  precede  which  contains  the  tone  which  i.s  to  bo  prepared, 
and  in  which  that  tone  is  a  concord,  and  that  a  chord  should  follow  which 
contains  a  tone  on  the  next  degree  of  the  scale  below  the  prepared  discord, 
to  which  it  can  resolve.  It  will  be  well  for  the  student  in  all  his  exercises 
to  slur  the  discord  which  requires  a  preparation  to  the  note  which  prepares 
it,  as  in  the  above  example. 

Write  Practical  Exercise  No.  27  in  Close  Harmony,  with  Own  Melody. 

Practical  Exercise  No.  27. 

=:izr:-Fzi=:h[=iF_zFb[:_cz:Lzb[=fi=:r=t=rizFz:t=l 

6    #4       6    ]:f7  6  6  6 

-n-ri-H r— i 


iSiF^FgiFgg 
I 


"I 


140 


SEVENTHS    WHICH    NEED    A    PREPARATION. 


^m^mm^^^^ 


i       6       #6 


4       6       7 
3 


4       Si 


«   J   §   # 


=^£FEEEiPEE8EE'=*==EE=^aEE^ 


^   5-* 


5       ^    fe5 


EmsMMiMmmmm 


6       J*    ,  6  6  6      6  #6         7      6  4^6       6        5 

5       ^    ^5  ^5  5      4  ^5         jj:      4  ^5        4       J^ 


Write  Practical  Exercise  No.  27  in  Close  Harmony,  with  Given  Melody. 


Melody  of  Practical  Exercise  No.  27. 


I  r-  r  I  r-        p 


il-illlillitiil§l:l£iii 


SEVENTHS    WHICH    NEED    A    PREPARATION. 


14. 


SSilgig^^EfezJIgll 


Write  Practical  Exercise  No.  27  in  Dispersed  Harmony. 
Write  Practical   Exercise  No.  28  in  Close  Harmony,  with  Own  Melody. 
Practical  Exkrcise  No.  28. 


6  676  66666 

6  7       7  6       7  ^6    ^5 

iiiig^gEiilEpi 

-^EEFl-i"H=EF 
:=zi«i!EHSEH3 


bs 


11 


g 

^ 


F^E^"I 
E=«Ei 


7       7 


I " 

-i 

7       7 


a 


be   b5 

5 


-^- 


6       6       6       6  ^4       6       6       ^   ^6         6    ^6      ^5       6 

b  g  ^4  ^         # 


%     i     "%     i     %     i     %      i     %  '  I 


142 


SKVENTHS     WHICH    NEED    A    PREPARATION. 


6  4      6  5^67  66? 

Write  Practical  Exercise  No.  28  in  Close  Harmony,  with  Given  Melcdy. 


Melody  of  Practical  Exercise  No.  28 


ie 


iPi 


iE.-3£4-I!E*E?EEffiS13;mES'E!L=t 


mmmmmMWM'ii^^ 


Write  Practical  Exercise  No.  28  in  Dispersed  Harmony. 


143 


CHAPTER   XLU. 

CADENCES. 

Whfl  a  two  chords  progress  in  such  a  manner  that  the  fundamental 
note  ascends  a  fourth  or  descends  a  fifth,  the  progression  is  said  to 
form  a  Cadence. 

When  the  progression  is  from  a  chord  of  V  to  the  common  chord 
of  I,  the  progression  is  called  a  Perfect  Cadence. 

When  the  last  chord  of  the  cadence  is  the  common  chord  of  V, 
the  progression  is  called  an  Imperfect  Cadence. 

When  the  cadence  is  formed  by  other  chords,  (i.  e.,  when  it  is 
neither  an  imperfect  nor  a  perfect  cadence,)  the  progression  is  called 
A  Mock  Cadence. 

Observe  that  the  perftct  cadence  is  formed  by  a  chord  of  V,  (i.  e  ,  eithet 
the  common  chord  of  V  or  the  chord  of  the  seventh  of'V,)  followed  by  the 
common  chord  of  I. 

The  final  close  of  a  piece  of  music  must  end  with  a  perfect  ca- 
dence. 

A  strain,  or  phrase  of  music,  (not  the  final  close,)  must  end  with 
a  perfect  or  an  imperfect  cadence. 


Composers  occasionally  make  an  exception  to  this  rule,  but  as  a  general 
thing  all  tunes  finally  close  with  a  perfect  cadence,  and  all  strains  or  phrases, 
(for  example,  the  lines  of  psalm  tunes,  &.C..)  with  either  a  perfect  or  an  im- 
perfect caderice.  Practical  Exercises  Nos.  24  and  25,  do  not  close  with 
perfect  cadeiicts,  but  it  will  be  readily  noticed  that  the  closing  chords  are 
"oddities,"  which  it  is  not  desirable  often  to  imitate.  Practical  Exercise 
No  21,  and  some  of  the  other  practical  exercises,  close  with  a  plagal  ca- 
dence, [see  page  205,]  but  most  of  the  practical  exercises  close  with  perfect 
cadences. 

cadences. 


sequences 


I I  _        I 


-iS=l}&c 


i  a 


0^^" 


144 


CADENCES. 


^4 


:r=Fi:l 


&c 


i§Et'EE^§F=F| 


^-J 


iii^iph 


&ci 


Ei=siP{-' 


:35i5~iz:z!  "1:^1 — l"i 


©•^:^?^-5— *;i~»— ill 


F^-F^f 


^ii 


iElgiij^o 


-  &C 


&:c 


"i — r 


5=J&c 


&C 


iiJi^- 


:e3errP3fz 


■=^ 


ii 


Cannot  be  done  because  the  seventh 
cannot  resolve. 


^EEFEEEF 


h^T 


E*: 


£^ 


:3li 


Cannot  Jie  done  bei-niise  the 
Huventli  cannot  resolve. 


iEE: 


CADENCF.S. 


145 


The  pr'^ceding  are  cadences  (i.  e.,  progressions  in  which  the  fundamental 
note  of  the  second  chord  is  a  fifth  below  or  a  fourth  al)()ve  the  futidamontal 
note  of  ihe  first  chord)  arranged  in  sequences,  [see  Chapter  XXX.]  7  de- 
notes a  chord  of  the  seventh,  and  0  a  common  chord.  The  figures 
over  the  7  iind  0  denote  the  forms.  It  will  be  noticed  that  a  clmrd  of  the 
seventh  in  every  form  goes  to  a  common  chord  in  every  form.  As  it  would 
not  sound  well  to  commence  a  phrase  with  a  chord  of  the  i^eventh.  one  or 
more  chords  are  placed  at  the  beginning  of  each  of  these  sequences,  to  make 
a  proper  commencement  to  the  phrase.  The  sequence  in  each  instance  com- 
menceswith  the  chord  marked  7.  The  student  should  now  write  these  se- 
quences through  the  scale,  i.  e.,  write  each  of  them  like  the  following,  which 
is  the  first  of  the  above  examples. 


I        i 


1 — r 

:arr 


■     "i — P"     T"  • 


1    1 

The  above  example  contains  the  sequence  marked  7  0  written  through 
the  compass  of  an  octave.  It  will  be  noticed  that  it  closes  with  a  perfect  ca- 
dence, which  makes  a  satisfactory  close  to  the  phrase.  'Jhe  student  should 
write  all  the  examples,  through  an  octave,  as  in  the  above  example,  and 
should  also  make  a  satisfactory  close,  (i.  e.,  a  perfect  cadence.)  to  each.  In 
some  of  the  examples  it  may  be  necessary  to  use  several  chords  to  form  a 
satisfactory  clo.se.  In  the  above,  as  the  la-t  chord  of  the  sequence  is  the 
chord  of  V,  only  one  chord  was  nece.-^sary  after  the  sequence  to  form  a  per- 
fect cadence.  The  student  should  practice  these  sequences  in  cadences  upon 
the  piano,  until  he  can  readily  play  them  from  memory. 


SEQUENCES  IN  AVOIDED  CADENCES. 


iT=^=5i; 


1 

7 


..-^%r:i 


iil^lipiilf 


ri3] 


AVOIDED    CADENCES 


miM0-, 


;ee3; 


CHiinot  be  Jone  because  the  sirTentk 
Cttuaot  revoUe. 


?     \ 


mmm 


i 


S=5li3=SH=its. 


-«^« 


? 


^i»zzi]:TEr    PIT  -L.^. 


^T) 


:&( 


d~B 


ll&c 


Izc: 


:fElEE 


;#^f&o 


-iFH=i^F 


il: 


iE^E'Efc^E^iEVjt^ 


?    i 


■4n 


5_. 


SisSEHs!^?! 


-mr-^^m 


lEEEjEEnit^c 


^Elz- 


Cunnot  be  done  because  the  aevenlb 
cannot  resolve. 


DECEIVING    CADENCES. 


141 


I 


.—1 7: 


CanBOt  be  done  because  the  seventh 
cannot  resolve. 


W: 


EEEf 


Cannot  be  done  because  the  seveutk 
cannot  resolve. 


g=: 


i 


;EEg=EEJ 


Cannot  be  done  because  the  seventh 
caanot  resolve. 


i: 


I 


A  eadexsce  means,  properly,  a  close,  eitiier  of  a  tane  or  plirase.  Perfect  and 
imperfect  cadences  alone  produce  the  definite  effect  necessary  for  the  end  of  a  strain. 
Mock  cadences  produce  an  effect  somewhat  similar  to  that  of  perfect  and  imperfect 
cadences,  bat  not  sufficiently  definite  to  form  a  close.  In  the  above  exercises, 
although  the  fundamental  note  of  the  second  chord  of  the  sequence  is  a 
fourth  above  or  a  fifth  below  the  fundamental  note  of  the  first  chord,  and 
is  consequently  a  cadence,  the  "cadence"  or  closing  effect  is  avoided  by 
making  the  second  chord  also  a  chord  of  the  seventh,  producing  an  avoided 
cadence.  7  indicates  that  the  chord  is  a  chord  of  the  seventh.  The  figure 
over  the  7  indicates  the  form.  The  sequence  in  each  instance  com- 
mences with  the  chord  raarked  7,  the  previous  chords  being  used  to  make  a 
proper  commencement  to  the  phrase.  The  student  should  write  and  practice 
each  of  the  "Sequences  in  avoided  Cadences,"  making  an  appro])riate  clos« 
to  each,  as  he  has  done  with  the  "Sequences  in  Cadences."  Such  of  thr 
exercises  as  could  not  be  done  with  four  parts,  are  written  with  five. 


SEQUENCES    IN    DECEIVING    CADENCES. 


:3dEi:z5:tq=:5 


14S 


DECEIVING    CADENCES 


iiiiiihi 


1        3 
V7     VI 


^^mm 


Cannot  be  done  becnnse  the  base  and  th« 
seventh  iiiake  fifih^. 


g:^E=:: 


J-==:j: 


J 


^^^g"-"T- 


V7     VI 


;g!^p-^f-!» 


V7    VI 


r&c 


f&rC 


V7    VI  ^ 

-#-•-» — •  '  # — p  '  p — J 

V7    VI 


"1 — ^  i — ! — r — r 

3        2 


r&c 


f&c 


7f- — T~ 
V7  — vr 


Cannot  be  done  because  the  seTenth 
raiinut  re«olve. 


i=: 


I 


^7==^ 


V7_ VI 


Cannot  be  done  becnune  the  seventh 
uunnot  resolve. 


fcc 


AVOIDED    DECEIVING    CADENCES. 


14Q 


vYhenever  \lie  common  chord  of  V,  or  the  chord  of  V7  occurs  in  a 
phrasCi,  the  ear  involuntarily  expects  that  the  common  chord  of  I  will  suc- 
ceed it,  i.  e.,  the  ear  expects  a  perfect  cadence.  When  the  chord  of  V  goes 
to  the  chord  of  VI,  this  expectation  is  disappointed,  and  tlie  progression  is 
called  a  deceiving  cadence.  The  term  "  deceiving  cadence"  is  also  applied 
to  any  progression  in  which  the  fundamental  note  ascends  a  second.  The 
Btuden  should  write  and  practice  the  sequences  in  deceiving  c.idences,  a3 
he  has  the  sequences  in  cadences,  and  sequences  in  avoided  cadences.  It 
will  be  seen  that  liberties  have  been  taken  with  the  leading  note,  in  order 
M  do  the  sequences  in  deceiving  cadences  in  all  the  forms 

Remark.  —  Composers  seldom  use  a  deceiving  cadence  in  any  other  than 

.he  first  form,  i.  e.,  V  VI.     The  resolution  of  the   leading  note  is  not  con- 
idered  important  when  five  or  more  parts  are  used. 

SEQUENCES    IN    AVOIDED    DECEIVING    CADENCES- 


&c 


-r 


1 


I 
1 

Vr  VI 7 


t^p^: 


'm^ 


Y7     vr? 


&e 


-'r 


mm 


1        4'^ 


^_ —    

V7 VI7— 1 

EE3EEEI 


Ciuinnt  be  <Jone  hecause  the  base 
atul  eeventla  make  filY^. 


0: 


■E£E^EE: 


[13*] 


iigiijiipf. 


— S=t&C 


V7      VI7 


iE|gig3^< 


AVOIDEO    DECEIVING    CADENCES. 


pt— I ^-J 1 \ 


:&C 


2       3 
V7    Vl7 

I         I I 


S^^ 


:-!■ 


-5:gEpgp 


&c' 


Si3 


3[ 


3        1 
V7    Vl7 


;^-il^=:;l=^ 


3 
V7 


Yl7 


f^F 


1^     I  _ 


}^: 


1 -V—\ ^^-T-^  -  T       / 


:?i::3iz?tiz:izii: 


Cannot  be  i^ose  kecaiHe  the  aeva  b 
caimut  be  tlooe. 


iEfE^JEfe|{:^i|^4|fE=; 


PASSING    NOTES.  151 

The  definite  effect  produced  by  a  cadence,  when  the  second  chord  is  a 
ojmmon  chord,  is  of  course  avoided  when  the  second  chord  is  a  discord,  be- 
cause as  a  discord  always  needs  a  resohition,  it  can  never  be  the  closing 
chord  of  a  phrase,  but  always  leaves  the  impression  upon  the  ear  that  ano- 
ther chord  is  to  follow.  The  student  should  now  write  and  practice  the  se- 
quences in  avoided  deceiving  cadences  as  he  has  the  other  cadences. 


A  discord  which  requires  a  preparation  must  be  used  only  on  the 
accented  part  of  a  measure,  unless  the  accented  part  of  the  measure 
is  also  occupied  by  a  discord. 

No   1.  No.  3.  No.  3.  No.  4. 

1.       I )      r».  L  I !^r4^— I !-- ,- ! !-   -A-—,'-       ' 


Ij  l7  l7    Vl7  V7      I, 


In  example  No.  1,  I7,  which  is  a  discord  which  requires  a  preparation, 
appears  on  the  unaccented  part  of  the  measure,  contrary  to  the  rule.  This 
example  is  therefore  wrong.  In  example  No.  "2,  I7  is  on  the  accented  part 
of  the  measure,  which  is  correct.  In  example  No.  3,  VI7,  which  is  a  dis- 
cord which  requires  a  preparation,  is  on  the  unaccented  part  of  the  measure, 
but  it  is  ct)riect.  for  there  is  a  discord  which  requires  a  preparation  on  the 
accented  part  of  the  same  measure.  In  example  No.  4,  1 7  is  on  the  unac- 
cented part  of  the  measure,  but  V7,  a  discord  which  does  not  require  a  pre- 
paration, is  on  the  accented  part  of  the  same  measure.  Although  this  is 
within  the  requirements  of  the  rule,  it  does  not  sound  as  well  as  it  would  if 
the  discord  in  the  first  part  of  the  measure  was  one  which  required  a  pre- 
paration. 


CHAPTER   XLin. 

PASSING    NOTES. 


Tones  which  move  in  the  order  of  the  scale  are  allowed  to  pro< 
gress  without  reference  to  the  chords,  and  are  called  Passing  Notes 


iS^X 


PASSING    NOTES. 


J  I 


r=m 


^pif 


^--^ 


In  Example  No  1  the  common  chord  of  C  is  repeated  four  times.  In  the. 
first  measure  D  in  the  treble  and  F  in  the  alto,  and  in  the  second  measure 
B  and  A  in  the  treble,  do  not  belong  to  the  chord  of  C,  but  are  passing 
notes.  It  will  be  noticed  that  they  move  in  the  order  of  the  scale,  i.  e., 
without  skipping  any  tone  of  the  scale.  To  be  more  explicit,  "  moving  in 
the  order  of  the  scale"  means  going  from  a  tone  to  the  next  one  above  or  be- 
low it  in  the  scale.  For  instance,  V  to  move  in  the  order  of  the  scale  must 
go  to  IV  or  VI. 

Every  tone  used  in  a  musical  composition  must  belong  to  some 
chord,  and  be  subject  to  the  treatment  appropriate  to  each  chord, 
except  tones  which  are  passing  notes. 


No.  2 


«r#*! 


alii 


="p=r 


The  passing  notes  are  unimportant  tones,  and  their  oini.ssion  from  any 
piece  would  not  materially  alter  its  character.  Consecutive  fifths  must  not 
be  made  with  them,  but  they  are  not  subjfct  to  any  other  rule.  'J'he  second 
chord  in  Examples  Nos.  2  and  3  are  precisely  alike,  but  in  No.  2  it  is  the 
conunon  chord  of  I,  B  being  a  passing  note,  and  in  No  3  it  is  the  chord  of 
1 7,  the  seventh  (B,)  being  properly  prepared  and  resolved.  Of  course,  the 
passiiin;  notes  often  make  chords  appear  differently  from  their  true  character, 
us  in  Example  No.  2,  where  the  second  chord  is  apparently  I7,  erroneously 
used,  (i.  e..  without  a  preparation,)  but  in  reality  is  the  common  chord  of  I 
with  a  pas.sing  note,  and  in  Ex;imple  No.  4,  where  the  second  chord  is  ap- 
parently the  superfluous  common  chord  ustd  vvitliout  a  preparation,  but  ir. 
eality  is  the  common  chord  of  I,  G#  being  a  passing  note. 


Write  Practical  Exercise  No.  29  in  Close  Harmony,  with  Own  Melody. 


PASSING    NOTES. 


151 


Practical  Exercise  No.  29. 


«#.:-F 


^E!£E£Ei;^=E;i 


;t>: 


#4 
^2 


.c~r: 

6    4*4 
4    ^3 


6       6  6  Hr       7    HfG       Up 


6       6      3    #5       6 


5    #5       6  tf5 


4      6 


667  66  76       6  766 

4  5  5  5 


sJeeeeeeeiIees 


piiF-p:fp=^:-.-r:p=if 

^EEEaEEEEFEp;?Et 

^       I  "   i    I   «    '        '       "^       J 

S3ZE-ttFEE:lEEEI£EFHE?1^3?3l!EEI 


a;#- 


5    -^o 


r— rf?Ep^' 


7  7 


fifesSgliili 


7    #4  #6      6        7     #4  ^6  ^6    ^    #2  #4 


5      4 


=E?EEa:EEi:I~±-:EFEgEEEElEEE{EfeEEI 


^ISHf  ^^ 


*"#2 


6    Ji6 
4    *5 


!   # 


5        "     ' 


iez:e;EEEE:?EFl 


154  PASSING    NOTES. 

Write  Practical  Exercise  No.  29  with  Given  Melody,  in  Close  \Iarmonj. 
Melody  of  Practical  Exercise  No.  29. 

§2 ri:ipl:p— ^Lr— rz:rzzi_±?:i:::±?zig:i:tr^i:±:s.i 


►=^--^ 


^-E~-P=F-?-F^-F=F^ 


rzirzi 


1 — I — I ^ — t »- 


■^-— — : 


^-*-  «-^-^r^-,- 


gpEgjgEEElEEPgEgg^ 


:»--i=P: 

I r- 


rp=ir:ibr=:btiitbr-=r::tc-rl:r=rl;l-z:p 


liiigigg:|E|ii§{i[f 


PEDAL    NOTES.  155 


CHAPTER   XLIV. 


PEDAL    NOTES. 

A  tone  may  remain  stationary  on  the  same  degret  of  the  scale  in 
two  or  more  consecutive  chords,  without  being  subject  to  the  treat- 
ment prescribed  for  the  different  chords.  Tones  thus  treated  ar^. 
tailed  Pedal  Notes.  The  other  tones  of  the  chord  Tiust  be  treated 
according  to  the  chord  which  they  form  without  the  pedal  note. 


IS 


Perhaps  a  better  definition  of  pedal  notes  will  be  to  say,  that  as  long  as  a 
tone  remains  stationary  it  is  not  subject  to  any  rule.  In  the  first  measure  of 
the  above  example  the  base  is  a  pedal  note.  In  the  second  measure  the  tre- 
ble is  a  pedal  note.  In  the  third  measure  the  tenor  is  a  pedal  note.  In  the 
fourth  measure  the  alto  is  a  pedal  note.  Properly  speaking,  the  pedal  note 
in  each  measure  of  the  above  example  is  in  the  second  chord.  For  instance, 
in  the  first  measure  of  the  example,  the  first  and  third  chords  are  common 
chords  of  C,  and  the  base  notes  are  members  of  that  chord,  but  the  second 
chord  is  the  common  chord  of  B,  and  its  base  does  not  belong  to  that  chord, 
and  is  of  course  a  pedal  note.  Observe  that  the  remaining  notes  of  a  chord 
are  always  treated  as  if  the  pedal  note  was  not  in  the  chord.  If  the  pedal 
note  was  not  in  the  second  chord  of  the  first  measure,  it  would  be  the  common 
chord  of  B,  and  it  must  consequently  be  considered  as  the  chord  of  VIT,  and 
be  treated  accordingly.  Pedal  notes,  like  passing  notes,  often  make  a  chord 
appear  differently  from  its  true  character,  as  in  the  second  measure  of  the  ex- 
ample, where  the  second  chord  is  apparently  the  chord  of  the  seventh  of  D, 
but  really  the  common  chord  of  D  with  a  pedal  note.  If  it  was  the  chord 
of  the  seventh  of  D,  it  would  be  the  chord  of  II7,  but  it  will  be  seen  that  the 
seventh  does  not  resolve,  and  consequently  it  cannot  be  thatchoid.  In  both 
the  third  and  fourth  measures,  the  second  chord  is  the  chord  of  VII,  with  a 
pedal  note. 


Write  Practical  Exercise  No.  30  in  Close  Harmony,  with  Own  Melody 


156 


PEDAL     NOTES. 


Praoxioal  Exercise  No.  30- 


Praoxioal  Exercise  No.  «fO- 

76644666  664666 

6       2    •  4  5      4       ii 

6       7  I       7  i       ^       '  i       i  5 

6       6    ^4       6    ^6  6       6    ^4  6    ^6  7       4        7 

4       3  4       b  ^       8       ^ 


fcb 


=LE?E? 


:::— ridzpzipzi^rrz:  c"  rzi_(:_r_pi 

ir;     h«        h-r        6        6        if    hr.     hfi        b'7        6        6 


b  b5  be     b7 

i 


6     ^  b5  be 
^  b     ^ 


b    b5    b6        b7       6       6  6-^-6  [,6      4 

^  ^  b^      "^ 

6    be  76676C766164 


PEDAL    NOTES. 


15: 


iiilifHilsgailli 


7      6 


4      6  4      6      7 

-2      5  3 


Write  Practical  Exercise  No.  30  in  Close  Harmony,  with  Given  Melody 
Melody  of  Practical  Exercise  No.  30. 

K  :— I — I —  I — hi — r: 


fE?=^ 


JaE?Efer 


'^^mimmmm 


i-EiEP^^^ 


6^ 


EllTEEEEEEEE=ri!?=E^: 


**=? 


fees 


"HT — I" 


&:^^:^^^E^ 


-\ — i- 

5=s 


l§iP¥ 


..fEr°-'"='=' 


[14] 


158 


SUSPENDED    CADENCES. 


;iiHEE3 


B 


CHAPTER    XLV. 


SUSPENDED      CADENCE 


When  at  tbe  close  of  a  phrase,  the  chord  of  V  is  prolonged  after 
the  base  of  the  last  chord  is  taken,  it  is  called  a  Suspended  Ca- 
dence. 


miimm 


The  second  pnrt  of  the  above  example  is  a  regular  perfect  cadence.  In 
the  first  part  of  tlie  example  the  cadence,  or  closing  effect,  is  suspended  for 
two  beats,  forming  a  suspended  cadence.  The  Germans  call  the  suspended 
cadence  a  "  feminine  cadence,"  and  the  perfect  cadence  a  "  masculine  ca- 
dence." In  their  lanj^uage,  consequently,  the  first  part  of  tlie  above  exam- 
ple would  be  called  a  feminine  cadence,  and  the  last  part  a  masculine  ca- 
dence. In  the  second  chord  cithe  example,  the  treble,  alto  and  tenor  are, 
of  course,  pedal  notes. 

Place  the  Roman  figures  which  denote  the  chords  under  each  chord  ol 
Practical  Exercise  No  31,  carefully  discriminating  in  reference  to  passing 
notes  and  pedal  notes. 


Pr.\ctic.\l  Exeucise  No.  31 
I 


bj 


i'i 


.''ri 


n  1  .  tl  'I 


1^=1- 


iiiiliEgiiPEiEigi^^ 


SUSPENDED    CADENCES. 


159 


( 


•I.. 


fi^liiil^lIiiSi^il 


6     I    ^3 

4       1^  2 


bs     2  b? 


bii 


bl  . 

2      D7 


^«_i — Cl.r_  r  -plf—i — |-I8»— I — l-l-i — ] 


'^    •  2    b5       4    b?       4 


-f=;-p- 


?El^R^?E'r 


lEEEElEE^EziEt 


#rf7 


p:F:r:i=z:5:^S=3:f=p:?^t:'EEfEE^liz5= 


b7 


b7 


b7 


I  6    b4    .6       ^4    f 

bs     2  b5     ^2  bs 


r:f:j£^;ilEEEE3||EEE^I?;EEi:F£EE^] 


lea 


TRIPLE    DIMINISHED    CHORD    OF    THE    SEVENTH- 


6  647  3  63  3 


:E3  riEiEFSE^^3SE^:gE3Z-"#^=^^ 

'i — L# — g,       .J_^._«_^_L«:_*_«•^|_a_«!_ 
^     r  w  •    .,.  .^.  ^^.  .n    I    .^.  ^_ 


b7 


b? 


6      4 
4      ii 


m^m^m^Mm: 


3-2     3         ^32323         2 


^-zz-^i 


^sm 


Write  Practical  Exercise  No.  31  in  Dispersed  Harmony. 


CHAPTER    XLVI. 

TRIPLE    DIMINISHED    CHORD    OF    THE    SEVENTH, 


The  chord  of  the  seventh  of  ^lY  in  the  minor  mode,  is  com 
pored  of  the  double  diminished  common  chord  with  a  diminighed 
•evsnth,  and  is  called  the   Triple   Diminished    Chord   or   the 


f RIP  .E    DIMINISHED    CHOllD    OF     THE    SEVENTH. 


16] 


Sev^ntii.  The  seventh  in  this  chord  must  descend,  but  does  not 
require  a  preparation,  i.  e  ,  it  must  be  treated  like  the  sevenths  in 
the  ;hief  and  diminished  chords  of  the  seventh. 


4rIV7  in  A  minor.  ^IVy  in  E  minor. 


^lY-^  in  D  minor. 


Write  and  play  4*1  V 7  in  all  the  keys,  and  in  every  form,  placing  one  or 
more  chords  after  it  which  will  resolve  the  seventh  and  form  a  perfect  or  im- 
perfect cadence. 

Eemark.  —  The  first  chord  in  the  nineteenth  measure  of  Practical  Exer- 
cise No.  31  is  a  triple  diminished  chord  of  the  seventh. 


PI  are  the  Roman  figures  wl 
Practical  Exercise  No.  32. 


ich  denote  the   chords   under  each   chord  oi 


Pkactical  Exercise  No.  39 


4 

8  4 

3  2 


—^- 


SErJEEiigE^EEl 


[14*] 


TRIPLE    DIMINISHED    CHORD    OF    THE    SEVr.NTH, 


? 

*       4 


<#- 


tT-^mz: 


'-'i=W- 


wsmmm 


:n-*: 


M         n       ^  J t  I  I  J  III 

^«tSE|:FiEra=^:Ep^^HE:-rHE3 


?        6 

6  4 


4        6 


7        4 


^i=|E^gPEL^E^^^ 


.t:i==^ 


piE'^fflE^E 


q- 


:-I=±r-|-iid-A<^TrS 


-J «- 

•1 «- 


-i~f~ 


^6        4        7 


^1 


;pEsp; 


;gisiiEi 


)~E:5fE:^Et«^Ef^t^Ei-f«Eji^E!:^EjEl 

4  ^1  ^5  4  4  6 


TRIPLE    DtHlNISHED    CHORD    OF    THE    SEVENTH, 


163 


6       6  u 

3     4    6  'ffe 


#      I        #*i      6 


'^i     6     I 


^n^SE^fpiiifig 


-r-fc± 


:ig[|f;i?^iiPiS 


^4  (?3  Mf 


6  n   2 

4     #6 


W 

# 


^lii^ipipi:p 


Write  Practical  Exerci,se  No.  32  in  Dispersed  Harracar 


iU 


MAJOK    DIMINISHED    CHORDS    OF    THE    SEVENTH. 


CHAPTER   XLVII. 


MAJOR    DIMINISHED    CHORDS    OF    THE    SEVENTH. 

The  cliord  of  the  seventh  of  IIit4  in  the  minor  mode  is  composed 
of  a  major  diminished  common  chord  with  a  minor  seventh,  and  is 
called  the  Major  Diminished  Chord  of  the  Seventh.  The 
seventh  in  this  cliord  must  descend,  but  does  not  require  a  prepara- 
tion, i.  e.,  it  must  be  treated  like  the  sevenths  in  the  chief,  dimin- 
ished and  triple  diminished  chords  of  the  seventh. 


11^47  in  A  minor 


11^47  in  E  minor. 


II#47  in  D  minor. 


114^47  in  F  minor. 


II#47  in  A  minor,  in  al)  the  forms 


=4 


P 

3        4 

11^17       11:^17 


w- 


U#4  7  114^7      II:ffl7      II#l7      114^17 


Write  and  play  the  major  diminished  chord  of  the  serenth  in  all  its  forms, 
m  evory  kry,  placing  chords  enough  after  it  to  resolve  the  seventh  and  maka 
a  perfect  or  imperfect  cadence. 


Place  (he   Roman   figures   which  denote  the  chords  under  each  chord  ol 
Piaciical  Exercise  No.  33. 


major  diminished  chords  of  the  serenth.  165 

Practical  Exkrcise  No.  33. 

:EpEpfE3EECEfE^EE=:EEi'-riEF-S 


ZEE5-P=ET=^=EH-^-TE-^-T-i-^-H 


^7         t|7 


6    ^4 


ig^pn^pp 


^7 


#5       6 


S       #  6  #    it6  #  7    #6       ^#      # 


F=rztp: 


qirn: 


^^Esi^EEt:i^E? 


^6       #5 


l=:?E^p£T#^_= 


^iiiS 


;pEa 


6  *^i 


-jm?--^-- 


f=h*F=r-tp=f 


MAJOR    DIMINISHED    CHORDS    OF    THE     SEVENTH. 

ji,  44  4  4646 

#6  3  S  »  35264 


Write  Practical   Exercise  No.  33  in  Close  Harmony. 

Place  the  Ptoman  ficruros  which  denote  the  chords  under    each  chord  of 
Practical  Exercise  No.  34. 


Practical  Exkrcise  No.  3^4. 


;S 


7 

0      0 


.7    ^7 


7  M 


'^EMPMMW^WPB 


b« 


if6 

i    i 


mm^E^^mm^^ 


MAJOR    DIMINISHEJ    CHORDS    OF    THE    SEVENTH. 


16t 


^6 


6  bi 


tfl   ! 


E?Ef3=r='^pgE§ 


4^6  6       4 

67  66        5  487 

EE£rE5E.fEE5El=rf*=^=^^l=^ 


s2^^:z:: 


Write  Practical  Exercise  No.  34  in  Close  Harmony. 

Remark.  —  It  is  often  the  case  that  one  of  the  tones  belonging  to  a  chord 
ts  omitted,  and  one  of  the  others  doubled  in  its  place.  When  a  pedal  note  is 
used  wi*h  a  chord  of  the  seventh,  one  of  the  tones  belonging  to  the  chord  of 
the  seventh  must  of  course  be  omitted,  unless  more  than  four  parts  are  era- 
ployed. 

Write  Practical  Exercise  No.  35  in  Dispersed  Harmony,  with  Given 
Melody. 


Practical  Exercise  No  S5 


S^miPileSlil 


i    i    7   I  *r    i   ^7  f « 


#4 
X2 


} 


be    §6    ^7       ^5    ^fi       ^7    tS7 


be  u|  ^^ 


168 


MAJOR    DIMINISHED    CHORDS    OF    THE    SEVENTH. 


fsisiiiiiigiiiipiii 

#  b  I  4 

6       6  6      6       6  7       6 

4  4 


744646474      ■•■  ^7  ^^ 

S2525S  3  ^  ^ 


Melody  of  Practical  Exercise  No.  35. 


iiig^iiilgiiipi^ 


igilppi^ppl^ 


iSgEJgEgilEgPiiiii 


i ^"in rtl!~ 


g#- 


Write  Practical  Exercise  No.   36  in   Dispersed  Harmony,   with  Givca 
Melody. 


MAJOR    DIMINISHED    CHORDS    OF    THE    SEVENTH. 


169 


Practical  Exercise  No.  3G. 

I        I 


v^-r^-P 1 


7       4 

'5 


6       b7 


4         7 
3 


4         7       4         7 

3  3         ^ 


Se^3- 


•-R 


-€^^- 


^f^^|^?^^fl^ 


7    ^5  ^5    ^7    ^5    ^7       ^5    ^6 


fe^,-^^^|=||:|^j^ 


4^6    ^7       b6     b7 
4r 


be   b7 

4 


t>5 


b4     7 

3 


"I 'T 


•  1 r 

■0 — O 


:±d 


m 


*-?- 


m 

4 

m 


b 


7   b7     6  ^?  ^^  ^^   be      7 


b5 


Melody  of  Practical  Exercise  No.  HO. 


[15] 


ro 


PRACTICAL    EXERCISES. 


irS-^-spirtrzr-zff: 


Place  the  Roman  figures  which  denote  the  chords  under  each  chord   o/ 
practical  Exercise  No.  37. 


Practical  Exercise  No.  37. 


1 — »>— I "-— *>-^i — V 


b 


^5 


P- 

"I — r' 
"i — »" 


■I*- 


:n:7r-i=nziiin- 


1 


5-8=] 


^1 


PRACflCAL    EXERCISES. 


in 


iipipSi^?^!||i 


en  'A 


# 


as: 


^\ 


I'xcc: 


-H— f*— '- 


£^:|=iEilSEiE!l 


t:^r^ 


•1—1—5 i- 


'^m 


I      S       T       #  6       *  §        S        7 

--A  :F--r=^^zIq?:z:^=i^EE— r— ?— ^ 


5       4       7  5 

— B— I ?— S— ?^I-P- 


@i- 


«--•- 


■S»-  S»— •""'-Si 

6  *fl         Ji     u4      h     5'* 


iE4EE--3E-:^^ 


bii^iriiS: 


be  ^5  be   b? 


H  tl  1 


6      ^5 


m 


PRACTICAL    EXERCISES. 


R^ 


:^P- 


■v^!!p^__iA.'. 


4    a,  7. 


Write  Practical   Exercise  No.  38  in   Dispersed  Harmony,  with  Givtn 
Melody. 


Practical  Exercise  No.  38. 
f-0 


6        4  6  6       I  6  7 

zz£ibr:zr:_tzz:b;t!r~citc:z::ztE^czlit~!z;Lzizc± 

gzp-zizjip:z:gzqz:^z:--f-zzq:p:^=TrFi=ET 
i    "    S     I    n     t       ^     §    t>7  xe  ^«  be  b7     i 

iSPP§3;}iiliiliiilliiS 

6 
5 


i 


6  be 

4       4 


f^il..g,=^g:^|i||y 


6    176 
4        4 


RECAPITULATION    OF    CHORDS    OF    THE    SEVENTH.  173 


7       7 


The  melody  to  each  chord  of  Practical  Exercise  No.  38  is  E|;.  i.  e. 
±=b=C ^—. ._ 

&c 


gL^i^jISigg^i 


END    OF   PRACTICAL   EXERCISES. 


CHAPTER    XLVm. 

RECAPITULATION    OF    CHORDS    OF    THE    SEVENTH. 

Major  Scale. 
— ] 1 1 J « 1 t 


:i: 


« s « 


-A J « 5 


mm 


i7    .   Ht       ni7      1V7       V7       VI7      TI17 

The  chord  of  I7  in  the  major  mode  is  a  major  chord  of  the 
seventh. 

The  seventh  in  this  chord  is  a  very  harsh  discord.  It  requires  a  prepara- 
tion, and  a  resolution  to  the  tone  nest  below  it,  and  must  always  resolve  at 
once,  i.  e.,  it  must  not  be  prolonged  into  the  next  chord,  a  liberty  which  is 
sometimes  allowed  to  V7,  &c.  In  other  words,  the  pan  which  is  to  sing 
the  tone,  which  in  this  chord  is  the  seventh  from  the  fundamental  note,  must 
eing  the  same  tone  in  the  chord  next  before  it,  (where  the  tone  must  be  a 
concord,)  and  in  the  chord  next  after  it,  must  sing  the  tone  on  the  next  de- 
gree of  the  scale  below.  The  proper  treatment  of  this  chord  is  explained  in 
Chapter  XLI.  It  is  a  chord  which  should  always  appear  on  the  accented 
part  of  the  measure,  as  explained  on  page  151,  and  it  should  never  appear 
on  the  unaccented  part  of  a  measure,  unless  there  is  a  harsh  discord,  (i.  e., 
one  which  requires  a  preparation,)  on  the  accented  part. 

The  chord  of  II7  in  the  major  rr  ode  is  a  minor  chord  of  the 
Beventh. 

[15*] 


174  RECAPITULATION    OF    CHORDS    OF    THE     SEVENTH. 

TTie  seventh  in  this  chord  is  a  discord  which  composers  usually  coi  pider 
requires  a  preparation.  It  is  however  not  so  harsh  a  discurd  as  the  serenth 
in  major  chords  of  the  seventh,  and  it  is  sometimes  used  without  a  prepara- 
tion. The  rule  requires  that  it,  like  I7,  shuuld  always  appear  on  the  accented 
part  of  the  measure,  but  good  composers  sometimes  place  it  on  the  unac- 
cented part,  even  when  there  is  no  discord  on  tiie  accented  pait.  It  rounds 
perfectly  well  on  the  unaccented  part  of  a  measure,  if  there  is  a  discord 
which  does  not  require  a  preparation  on  the  accented  part  The  proper 
treatment  of  ibis  chord  is  explained  in  Chapter  XLI. 

The  chord  of  III7  in  the  major  mode  is  a  minor  chord  of  the 
seventh. 

Although  this  chord  is  of  the  same  character  as  IT 7,  composers  seldom  or 
never  take  liberties  with  it,  but  almost  invariably  use  it  strictly  according  to 
the  directions  explained  in  Chapter  XLI.  It  is  also  almost  invariably  placed 
on  the  accented  part  of  the  measure,  unless  there  is  a  discord  already  on 
that  part  of  the  measure,  as  explained  on  page  151. 

The  chord  of  IV7  in  the  major  mode  is  a  major  chord  of  the 
seventh. 

AH  the  remarks  made  in  reference  10X7  apply  also  to IV7.  It  should  be  par- 
ticularly notice  I  th:it  very  harsh  discords,  like  I7  and  IV  7,  should  never  ap- 
pear on  the  unaccented  parts  of  a  measure,  unless  there  is  an  equally  harsh  dis- 
cord on  the  accented  part.  It  would  not  sound  well  h>  place  V7,  or  either  of 
the  other  sevenths  whicli  do  not  require  a  preparation,  on  the  accented  part  of 
the  measure,  and  1 7  or  IV 7  on  the  unaccented  part,  because  I  7  andIV7  are 
BO  much  harsher  than  any  of  the  sevenths  which  do  not  require  a  prepa- 
ration, and  it  can  never  sound  well  to  place  the  harshest  discord  on  the  un- 
accented part,  and  the  milder  on  the  accented;  but  if  there  are  discords  on 
both  the  accented  and  unaccented  parts  of  the  measure,  the  harshest  .should 
come  first,  or  at  least  the  discord  on  the  accented  part  mu^l  be  as  harsh  as 
that  on  the  unaccented  part. 

The  chord  of  V7  in  the  major  mode  is  the  chief  chord  of  the 
seventh. 

This  is  the  mo.st  important  and  most  useful  of  all  the  chords  of  the  soventh, 
because  it  is  the  least  harsh  or  discordant.  It  is  almost  the  only  chord  of  the 
seventh  which  is  found  in  psalm  tUDCS  and  simple  vocal  music,  and  is  much 
more  frequently  used  than  any  other  chord  of  the  seventh,  in  all  varieties  of 
music.  The  seventh  in  this  chord  must  resolve,  but  does  not  n-jpiire  a  pre- 
paration, nor  is  it  required  to  resolve  at  once,  or  in  the  same  part,  but  it 
may  be  proloii<red  through  several  successive  chords  before  it  finally  resolves, 
and  it  may  be  transferred  to  another  part  than  that  in  which  it  first  appears, 
and  resolve  in  such  other  part.  The  proper  treatment  of  this  chord  is  ex- 
plained in  Chapter  XXXVII. 


#«• 


RECAPlTULATIO^f    OF    CHORDS    OF    THE    SEVENTH.  175 

The  chord  of  VI7  in  the  major  mode  is  a  minor  chord  of  the 
r-ev  inth. 

All  the  remarks  made  in  reference  to  III 7  apply  also  to  VI 7.  It  should 
be  particularly  noticed  that  the  seventh  in  those  chords  where  it  requires  a 
preparation,  must  always  resolve  at  once,  i.  e.,  in  the  next  chord  to  the  one 
which  contains  the  seventh,  the  part  which  sings  the  seventh  must  sing  the 
tone  next  below  it. 

The  chord  of  VIT7  in  the  major  mode  is  a  diminished  chord  of 
the  seventh. 

Composers  allow  to  the  seventh  in  VII 7  all  the  liberties  which  are  al- 
lowed to  it  in  V 7,  but,  so  to  speak,  much  more  '  grudgingly";  i.  e.,  liberties 
which  are  often  freely  takeh  with  the  seventh  in  V7  are  very  seldom  takei 
in  VII 7,     The  proper  treatment  of  this  chord  is  explained  in  Chapter  XL. 

Minor  Scale. 

I7      117   n#47   niT   1V7   #iV7  V7   cvi^7)  VI7  vn7  (vn^7) 

The  chord  of  I7  in  the  minor  mode  is  a  minor  large  chord  of  the 
seventh. 

This  chord  is  seldom  used.  The  seventh  must  be  prepared  and  resolve 
upwards,  because  it  cannot  descend  without  moving  a  step  and  a  half,  and 
a  discord  must  not  move  more  than  a  step,  (i.  e.,  a  major  second,)  in  its 
resolution.  The  best  way  to  treat  this  chord  is  to  resolve  the  seventh  down- 
wards a  half  or  whole  step,  thus  resolving  it  out  of  the  key,  as  in  the  follow- 
ing example,  where  it  (I7  iu  the  key  of  A  minor,)  resolves  in  the  first  part 
of  the  example  to  V7  in  the  key  of  D,  and  in  the  second  part  of  the  ex- 
ample  to  I  in  the  key  of  D.  In  the  third  part  of  the  example  it  is  resolved 
upwards,  the  only  way  in  which  it  can  resolve  vfithout  modulating  out  of  the 
key. 


The  chord  of  II7  in  the  minor  mode  is  a  diminished  chord  of  the 
seventli 


I, '6  RECAPITULATION    OF    CHORDS    OF    THE    SEVExVTH. 

The  seventh  in  this  chord  is  to  be  treated  precisely  like  the  seventh  ii» 
VII7  in  tho  major  mode.  II7  in  the  minor  mode  and  A'Il7  in  the  major 
mode  are  alike  in  sound,  but  not  precisely  alike  in  treatment,  for  VII 7  con- 
tains a  leading  note  and  IT 7  does  not.  The  treatment  proper  for  this  chord 
is  explained  in  Chapter  XL. 

Tlie  chord  of  IIfr47  in  the  minor  mode  is  a  major  diminished 
chord  of  the  seventh. 

The  seventh  in  this  chord  does  not  require  a  preparation,  and.  like  the 
sevenths  in  all  the  chords  which  do  not  require  a  preparation,  it  can  resolve 
in  another  part,  and  be  prolonged  through  one  or  more  successive  chords  be- 
fore resolving.  The  proper  treatment  of  this  chord  is  explained  in  Chapter 
XLVII. 

The  chord  of  III7  in  the  minor  mode  is  a  superfluons  chord  of 
the  seventh. 

This  is  the  harshest  of  the  chords  of  the  seventh,  because  the  common 
chord  in  it  is  a  very  harsh  discord,  and  its  seventh  is  a  major  seventh,  which 
is  also  a  very  harsh  discord.  All  the  remarks  in  relation  to  the  seventh  in 
the  chord  of  1 7  in  the  major  mode,  apply  to  the  seventh  in  this  chord.  The 
proper  treatment  of  this  chord  is  explained  in  Chapter  XLI. 

The  chord  of  IV7  in  the  minor  mode  is  a  minor  chord  of  the 
seventh. 

All  the  remarks  made  in  reference  to  II7  in  the  major  mode  apply  to  this 
chord.     Its  proper  treatment  is  explained  in  Chapter  XLI. 

The  chord  of  ^IVv  in  the  minor  mode  is  a  triple  diminished  chord 
of  the  seventh. 

The  remarks  made  in  reference  to  11^47*  apply  to  this  chord.  Its  proper 
treatment  is  explained  in  Chapter  XLVI.  A  singular  and  pleasing  modu- 
lation can  be  made  with  this  chord,  from  the  fact  that  the  tones  of  which  it 
is  composed  are  the  same  as  those  which  compose  the  chief  chord  of  the 
seventh  in  the  key  a  minor  second  above  the  key  in  which  it  (^IV7)  ap- 
pears. In  the  following  example  the  first  chord  is  i^lV ^  in  A  minor.  The 
second  chord  is  V  in  A  minor.  The  third  chord  contains  precisely  the  same 
tones  as  the  first  chord,  but  making  the  enharmonic  change  of  D^  to  E[i, 
it  becomes  V7  in  the  key  of  B[),  thus  forming  a  pleasing  and  natural  modu- 
lation to  that  key.  The  last  part  of  the  example  is  the  same  as  the  first,  ex- 
cept that  it  modulates  to  the  key  of  B[y  minor,  while  the  first  part  modulates 
to  the  key  of  B[)  major.  To  become  familiar  with  this  modulation  the  stu- 
dent ahould  write  and  practice  it  in  all  its  forms,  in  all  the  keys. 


RECAPITULATION    OF    CHORDS    OF    THE    SEVENTH.  177 


The  chord  of  V7  in  the  minor  mode  is  the  chief  chord  of  the 
s(  venth. 

All  the  remarks  made  in  reference  to  V7  in  the  major  mode  apply  to  this 
chord.  Its  proper  treatment  is  explained  in  Chapter  XXXVII.  From  the 
fict  that  the  tones  composing  this  chord  also  compose  the  chord  of  3*IV7  in 
the  key  a  minor  second  behiw,  a  modulation  the  reveise  of  that  described  in 
connection  with  ^IV^  can  be  made  by  it.  In  the  following  example,  the 
first  chord  is  V7  in  the  key  of  C.  The  second  chord  is  I  in  the  key  of  C 
The  third  chord  is  precisely  like  the  first,  but  by  the  enharmonic  change  of 
F  to  Eff,  it  becomes  ^IVy  in  B  minor,  forming  a  natural  and  pleasing  mo- 
dulation to  that  key.  The  chord  of  V  7  is  precisely  the  same  in  both  the 
major  and  minor  scales,  and  all  remarks  in  relation  to  it  apply  equally  to 
'joth  modes.  To  become  familiar  with  this  modulation,  the  student  should 
XTite  and  practice  it,  in  all  its  forms,  in  all  the  keys. 


The  chord  of  ¥#4?  in  the  minor  mode  is  a  major  large  chord  ot 
the  seventh. 

If  :ii=IV  is  employed  in  classifying  the  tones  of  the  minor  scale,  as  if  it  was 
an  integral  member  of  that  scale,  [see  pages  96  and  10:J,]  such  a  chord  as 
y^4i  is  possible,  although  the  author  has  no  recollection  of  ever  having 
seen  one  in  any  musical  composition.  If  used,  its  seventh  should  be  treated 
like  the  seventh  in  I7  in  the  minor  mode,  i.  e.,  it  must  be  prepared,  and  re- 
solve upwards,  or  downwards  out  of  the  key. 

The  chord  of  VI7  in  the  minor  mode  is  a  major  chord  of  the 
seventh. 

All  the  remarks  made  in  reference  to  I7  in  the  major  mode  apply  to  this 
chord.     Its  proper  treatment  is  explained  in  Chapter  XLI. 

The  chord  of  VII7  in  the  minor  mode  is  a  double  diminished 
thord  of  the  seventh. 

This  is  one  of  the  most  singular  and  useful  chords  in  the  whole  range  of 
music.     It  is  explained  at  length  in  Chapter  XXXIX. 


178  CHORDS    OF    THE    NINTH. 

The  chord  of  Yll^i^  in  the  minor  mode  is  a  minor  diminished 
chord  of  the  seventh. 

As  is  remarked  in  reference  to  V:i*47,  such  a  chord  as  VII#4-  is  possi- 
ble, although  seldom  or  never  used.  If  used,  its  seventh  must  be  treated 
like  the  seventh  in  the  double  diminished  chord  of  the  seventh.  It  will  be 
noticed  that  there  are  three  tones  in  it  which  have  a  fixed  resolution,  viz., 
the  fundamental  note,  which  is  the  leading  note,  (and  must  ascend,)  the 
fifth,  which  is  the  j-harp  fourth,  (and  must  ascend,)  and  the  seventh. 

Concluding  Remarks  on  Chords  of  the  Seventh. — If  the 
student  has  worked  out  all  the  practical  exercises  correctly,  he  is 
now  familiar  with  all  the  common  chords  and  all  the  chords  of  the 
seventh  which  can  possibly  occur  in  any  kind  of  music.  He  should 
now  analyze  music  of  different  kinds,  and  notice  how  different 
authors  use  the  chords  of  the  seventh,  proceeding  in  reference  to 
chords  of  the  seventh  precisely  as  directed  in  reference  to  common 
chords,  on  page  106.  As  there  directed,  he  should  also  compose 
pieces  himself,  using  now  chords  of  the  seventh  as  well  as  common 
chords 

ENO    '>P    TREATISE    ON    CHORDS    OF    THE    SEVENTH. 


CHAPTER   XLIX. 


CHORDS     OF     THE      NINTH. 


A  chord  composed  of  a  common  chord,  with  a  tone  which  is  u 
ninth  from  the  fundamental  note  added  to  it,  is  called  a  Chord  cr 
THE  Ninth. 

Chords  of  the  Ninth  in  the  Major  Mode. 


II»        Illi      iv»       v»         vi»      VII» 


CHORDS    OF    THE    NINTH.  179 

Chords  of  the  Ninth  in  the  Minor  Mode. 


l9         II9     11^49     III9     IV9     #IV9       V9       VI9       VII9 


The  common  chord  which  forms  a  part  of  each  chord  of  the 
aiinth,  must  be  treated  as  it  would  be  if  it  stood  alone,  i,  e.,  as  if 
he  ninth  was  not  added  to  it. 


All  the  remarks  in  relation  to  the  common  chords,  in  Chapter  XXXVI,  ap- 
ply to  chords  of  the  ninth,  and  all  other  chords,  as  well  as  to  the  chords  of  the 
eevfloth. 

The  ninth  in  the  chord  of  Yg  in  both  the  major  and  minor  modes, 
is  n  discord  of  the  second  class.  It  must  resolve  by  descending  one 
degree,  but  does  not  require  a  prepsuration, 

V9  is  somewhat  like  V7,  but  no  such  liberties  are  allowed  the  ninth  as  are 
allowed  the  seventh  in  V7.  It  must  resolve  at  once,  and  in  the  same  part  in 
which  it  first  makes  its  appearance. 

All  the  chords  of  the  ninth,  except  Vg^  are  discords  of  the  third 
class.     The  ninths  must  be  prepared,  and  descend  one  degree. 

The  ninths  in  all  the  chords  of  the  ninth,  must  be  treated  precisely  like  the 
seventh  in  Jhe  chord  of  I7  in  the  major  mode,  and  all  the  remarks  made  in  re- 
ference to  I7,  apply  te  all  the  ninths  except  V9. 

Observe  that  all  ninths  must  resolve  by  descending.  The  ninth  in  VI9  in 
the  minor  mode  must  consequently  resolve  out  of  the  key,  for  if  it  descends  at 
all  in  the  key,  it  must  descend  a  step  and  a  half,  and  no  discord  in  resolving 
oaust  descend  more  than  a  major  second.  [See  remarks  in  relation  to  1 7  in  the 
amor  mode,  page  175.] 

When  the  seventh  of  the  minor  scale  is  a  discord,  if  it  is  a  fifth 
'as  in  III,)  or  a  seventh  (as  in  I7J  it  may  resolve  by  ascending 
Dut  if  it  is  any  other  discord,  (a  ninth,  eleventh,  <fcc.}  it  mu  it  re- 
julve  by  descending. 

Ninths  must  not  be  prepared  and  resolve  in  octares. 


190 


CHORDS    OF    THE    NINTH 


s 


In  tl  ^  example  D  is  the  ninth.  In  the  first  chord  the  treble  and  alto  are  m 
octavea  D  in  the  alto  goes  to  C,  while  D  in  the  treble  remains  and  forms  the 
ninth,  which  immediately  resolves  to  C.  Such  a  progression  is  considered  the 
same  as  consecutive  octaves,  because  the  ear  would  naturally  expect  that  the 
treble  is  going  to  C,  and  the  ninth  merely  makes  a  suspension  of  the  progre^ion 
which  the  ear  expects. 

PvEMARK.  —  The  ninth  (with  the  exception  of  V9,)  and  all  the  chords  w^hicb 
remain  to  be  explained,  require  precisely  the  treatment  which  was  given  to 
1 7  in  the  major  mude.  If  the  student  has  worked  out  the  practical  exercises,  he 
is  now  perfectly  familiar  with  the  proper  treatment  for  all  kinds  of  chords,  and 
particular  practice  upon  the  ninths,  elevenths,  &-c.,  is  unnecessary.  For  the 
sake  of  practice,  the  student  can,  if  he  chooses,  work  out  a  set  of  sequences  in 
avoided  cadences,  like  those  explained  on  page  147,  only  making  the  second 
chord  a  chord  of  the  ninth  instead  of  a  chord  of  the  seventh,  as  directed  in  the 
following  table.  It  will  be  noticed  that  in  the  avoided  cadences,  on  pages  145 
and  146,  the  third  of  the  first  chord  in  the  sequence  is  continued  into  the  second 
chord,  and  in  that  chord  becomes  the  seventh,  so  that  the  cadence  is  said  to  be 
"avoided  by  retaining  the  third."  In  the  avoided,  cadences  denoted  in  the 
table,  the  fifth  of  the  first  chord  of  the  sequence  will  become  the  ninth  in  the 
Becond  chord,  consequently  in  these  exercises  the  cadence  will  be  "  avoided  by 
retaining  the  fifth." 


1    1  1  2   13   114    1 

7  9]7  97  97  9 

1    2  1  2   2   3   2  14   2 

797979|79 

1    3  1  2   sis   314   S 

7  9J7  9|7  9|7  9 

1   5   2   5  1  3   5  14   5 

7  9l7  9[7  97  9 

When  the  fundamental  note  forms  the  base  of  a  chord,  the  cbonl 
ts  said  to  be  in  the  fust  form. 


CHORDS    Uf    THE    NINTH. 


18  ^. 


When  the  third  forms  the  base  of  a  chord,  the  chord  is  said  to  be 
in  the  seyynd  form. 

When  the  fifth  forms  the  base  of  a  chord,  the  chord  is  said  to  be 
tn  the  third  form. 

When  the  seventh  forms  the  base  of  a  chord,  the  chord  is  said  to 
hi  in  i\\e  fourth  form. 

When  the  ninth  forms  the  base  of  a  chord,  the  chord  is  said  to 
be  in  tha  fifth  form^ 

When  the  eleventh  forms  the  base  of  a  chord,  the  chord  is  said 
to  be  in  the  sixth  form. 

When  the  thirteenth  forms  the  base  of  a  chord,  the  chord  is  said 
to  be  in  the  seventh  form. 

As  the  chord  of  the  ninth  has  no  seventh  in  it,  it  of  course  has  no  fourth 
form.  Several  of  the  progressions  indicated  in  the  table  cannot  be  done  in  four 
parts,  but  can  be  in  five.  The  following  are  the  first  and  second  progression? 
denoted  in  the  table,  the  first  being  in  four  parts  and  the  second  in  five.  With 
the  aid  of  thetje  examples,  and  the  explanations  on  page  147,  it  is  presumed  the 
gtudent  will  find  no  di^culty  in  working  out  all  the  progressions  denoted  by  the 
table. 

In  the  sequences  in  avoided  deceiving  cadences,  explained  on  page  151,  it  will 
be  noticed  that  the  fundamental  note  of  the  first  chord  of  the  sequence  is  retained, 
and  becomes  the  seventh  of  the  second  chord.  By  retaining  the  third  instead  of 
the  fundamental  note,  the  second  chord  will  be  a  chord  of  the  ninth.  If  the  student 
chooses,  he  can  write  a  set  of  avoided  deceiving  cadences,  similar  to  those  oa 
pages  149  and  150,  making  the  second  chord  a  chord  of  the  ninth. 


CHAPTER    L. 

CHORDS    OF    THE    ELEVENTH. 

A  chord  composed  of  a  common  chord,  with  a  tone  which  is  an 
tleventh  from  the  fundamental  note  added  to  it,  is  called  ?  Chord 
©F  THE  Eleventh. 
[16] 


.8S 


CHORDS    OF    THE    ELEVENTH. 


Chorda  of  the  Eleventh  in  the  Major  Mode. 


1# : 


i 


iiii    niii    ivn    vn     viij    villi 


Chords  of  the  Eleventh  in  the  Minor  Mode. 


* 1        1 III     — •izz~\' 


111   nu  11^411  iiiii  ivii  #iviivii  VIll  villi 

The  elevenths  in  every  chord  must  be  prepared,  and  reso}v»  bj 
descending  one  degree. 

As  is  remarived  in  respect  to  the  chords  of  the  ninth,  after  the  thorough  prac- 
tice which  die  student  ha.s  had  in  working  out  the  practical  exercises,  particubr 
practice  is  hardlj  necessary  on  chords  of  the  ninth,  eleventh,  &,c.,  which  require 
JQ  everj  case  the  same  treatment  as  those  chords  of  the  seventh  which  re- 
quire a  preparation.  If  the  student  chooses,  however,  he  can  wuik  out  tb.» 
fi>Uowin^. 


1      1 

V7  VIll 

1    . 

V7  VIll 

V7  VIll 

1       6 
V7  VIll 

2        1     1 

V7  VIllj 

V7  VIll 

2        3 
V7  VIll 

2       6 
V7  VIll 

3        1    1 
V7  VIllj 

3       2 
V7  VIll 

3       3 
V7  VIll 

3       6 
V7  VIll 

4        1    1 

V7  Tlii\ 

4       2 
V7  VIll 

4       S 
V7  VIll 

4       6 
V7  VIll 

In  avoided  deceiving  cadences,  as  represented  on  pages  149  and  15  0,  if  tli« 
fifth  is  retained  the  second  chord  of  the  sequence  will  be  a  chord  of  the  eleventh. 

Some  of  the  progressions  denoted  in  the  talile  cannot  bo  done  in  fnir  parts, 
but  can  in  five.  The  following  are  the  first  and  third  progrestaons  denoted  ii 
tho  tables,  the  first  being  in  four  and  the  other  in  five  parts. 


CHORDS    OF    THE    ELEVENTH. 


IS^i 


The  figures  V  and  VI  are  used  to  indicate  deceiving  cadences,  because  th« 
fundamental  note  of  the  second  chord  must  be  one  degree  higher  than  that  o 
the  first  chord.  As  the  chords  of  V  and  VI  will  of  course  occur  in  the  se- 
quence if  it  is  continued  through  an  octave,  (as  described  on  page  145,)  it  is 
not  necessary  that  the  first  chords  should  actually  be  those  of  V  and  VI.  In 
simple  music,  however,  deceiving  cadences  are  seldom  made  with  any  other 
chords  than  V  and  VI. 


V7  VIll 


&c 


The  chord  of  the  eleventh  complete  is  a  very  harsh  discord,  but  with  the 
third  omitted  it  is  almost  as  mild  a  discord  as  the  chord  of  V7,  consequently 
it  is  almost  invariably  used  without  the  third,  but  with  the  fundamental  n.^e 
doubled  instead. 


Chords  of  the  Eleventh  in  the  Major  Mode,  as  usually  used. 


— «- 


-m — 


tA 


•- 


^==?==r=t= 


iliii 


111     iiii    mil    ivii    vii    vui    V117 


Chords  of  the  Eleventh  in  the  Minor  Mode,  as  usually  used 


J=-:r-fS3^=p=f 


lUi      mil    ivii     vii    VIll    vim 


Sharp  four  can  be  used  as  a  seventh,  but  not  as  any  other  discord,  conse- 
quently those  chords  where  it  would  form  the  ninth  or  eleventh  are  not  used. 
In  the  chord  of  IV  j  |  in  the  minor  mode,  the  eleventh  must  of  course  re- 
solve out  of  the  key,  as  explained  on  page  175. 

The  chord  of  the  eleventh,  used  without  the  third,  is  very  freq"e»:<dy  em- 
ployed in  sacred  music.  Some  fancy  it  produces  a  peculiarly  sacred  efect, 
and  call  it  the  ''  Ecclesiastical  Discord." 


184 


CHORDS    OF    THE    THIRTEENTH. 


CHAPTER    LI. 

CHORDS    OF    THE    THIRTEENTH. 

A  choi  i  composed  of  a  common  chord,  with  a  tone  which  is  a 
{hirteenth  from  the  fundamental  note  added  to  it,  is  called  a  Choi.d 
DF  THE  Thirteenth. 


Chords  of  the  Thirteenth  in  the  Major  Mode. 


i 


-F 


.=^p: 


r-  f-  P 


HE 


Il3 


IIl3       III13       IY13       Vi3       VI13       vni3 


Chords  oC  the  Thirteenth  in  the  Minor  Mode. 


:^=!^ 


-    ■?: 


fei 


M 


Il3       1113  11:^13    nii3    IV13    #IVi3    Vi3    VI13    VII13 


i 


The  thirteenth  in  every  chord  of  the  thirteenth  must  be  prepared, 
and  resolve  by  descending  one  degree. 

The  tones  in  a  chord  of  the  thirteenth  are  precisely  the  same  a><  in  the 
.nords  of  the  seventh.  On  this  account  chords  of  the  thirteentli  are  s  il- 
dom  or  never  used. 


m 


3Ea3fEfeE; 


- — J. « ^- 

-S-  -0-    -0- 


—0— 


smsm^mm 


IV 


3     3 

Il3     I 


4       2 
VI7    II 


RECAPITULATION    OF    CHORDS.  186 

It  will  Je  noticed  that  the  second  chord  in  each  part  of  the  preceding  ex- 
ample is  composed  of  the  letters  A,  C,  E,  G.  In  the  first  part  of  the  exam- 
ple it  is  a  chord  of  the  thirteenth,  and  A  is  the  discord.  In  the  second  part 
of  the  example  it  is  a  chord  of  the  seventh,  and  G  is  the  discord. 


CHAPTER   LTI. 


RECAPITULATION    OF    CHORDS. 


-m — 
-« — 


— « 

— «- 
.0. 


-A 1 « «— — « «- m l-l- 

-J « » 0, m m m u 


The  first  chord  in  the  above  example  contains  all  the  tones  of  the  scale, 
and  is  the  source  from  which  all  chords  are  derived.  The  second  note  is 
the  lowe.st  note  of  the  first  chord  standing  alone.  To  write  music  in  one 
part  only,  no  classification  (f  chords  is  needed,  nor  are  any  of  the  rules  of 
harmony  necessary  fur  one  part  compositions.  The  third  of  the  above  ex- 
amples embraces  the  two  lower  notes  of  the  first  chord.  To  write  music  in 
two  parts,  care  must  be  taken  to  avoid  consecutive  octaves  and  fifths,  but  no 
classification  in  chords  is  necssary.  The  fourth  of  the  above  examples  em- 
braces the  three  lowest  tones  of  the  first  chord.  Great  variety  can  be  made 
with  three  tones,  and  consequently  for  three  or  moie  part  compositions  a 
classification  of  tones  into  choids  is  necessary.  Thise  three  tones  form  a 
common  chord.  The  fifth  of  the  above  examples  embrace  the  f 'ur  lower 
tones  of  the  first  choid,  or  in  other  words,  the  comtiiou  cliord  part  of  the 
first  chord,  with  a  seventh  added,  forming  a  chord  of  the  seventh.  The 
si.Kth  of  the  above  examples  embraces  the  first,  second,  third  and  fifth  tones  of 
the  first  chord,  or  in  other  words,  the  common  chord  part  of  the  first  chord, 
with  a  ninth  added,  forming  a  chord  of  the  ninth.  The  seventh  of  the  above 
examples  embraces  the  fir.st,  second,  third  and  sixth  tones  of  the  first  chord, 
or  in  other  words,  the  common  chord  part  of  the  first  chord,  with  an  eleventh 
added,  forming  a  chord  of  the  eleventh.  The  eighth  of  the  above  examples 
embraces  the  first,  second  third  and  seventh  tones  of  the  first  chord,  or  in 
other  words,  the  common  chord  part  of  the  first  churd,  with  a  thirteenth' 
added,  forming  a  chord  of  the  thirteenth. 

Rkmark.  —  The  student  should  now  compose  tunes  and  pieces,  employing 
chords  of  the  ninth,  &.C.,  as  well  as  chords  of  the  seventh;  and  common 
chords.  He  should  also  analyze  music,  according  to  the  directions  on  page 
10(>,  noticing  how  every  common  chord,  chord  of  the  seventh,  chord  of  th« 
ninth,  &.c.,  is  used. 

[16»] 


166  CHORDS    OF    THE    SEVENTH    ANC    MINTn. 


CHAPTER    LIII. 

CHOUDS    CONTAINING    MORE    THAN    ONE     DISCORD. 

A  s  hord  composed  of  a  common  chord,  with  tones  which  are  a 
seventh  and  a  ninth  from  the  fundamental  note  added  to  it,  is  called 
a  Chord  of  thk  Seventh  and  Ninth. 

Chords  of  the  Seventh  and  Ninth  in  the  Major  Mode. 

^        -•-       -5-      ^•- 

« — s — s — t — »— 

0 ^  I 1 1 

I"7,9       IV7,9       V7^9       Vl^^g      Vll-^g 


Chords  of  the  Seventh  and  Ninth  in  the  Minor  Mode. 

l7,9      "7,9  "^-17,9  nr7,9    ^"^1,0  ^^"^1,9  "^  1,9    "^7,9    ^"7,9 


The  student  does  not  need  any  further  instructions  to  be  able  to  use  any 
chord  correctly.  Any  or  all  of  the  discords  may  be  combined  in  one  chorJ, 
but  each  must  be  treated  just  as  ii  would  be  if  it  stood  alone.  For  example, 
if  the  seventh  and  ninth  are  u.sed  in  a  chord,  the  seventh  must  be  treated  aa 
if  the  chord  was  a  chord  of  the  seventh,  and  the  ninth  as  if  the  chord  was  a 
chord  of  the  ninth.  If  the  student  has  time,  it  may  be  well  for  him  to  study 
this  chapter,  and  work  out  the  exercises,  but  it  is  not  absolutely  necessary. 

A  discord  may  become  a  harsher  discord  without  resolving. 


I 


->J I 


VII    V7    I         V117  I7    IV  1117    I9    I  ni9  111    I 

In  the  first  measure  of  the  above  example  the  dimini.shed  fifth  in   the   firsi 
chord  becomes  the  seventh  in  the  second  chord  before  it  resolves.     In  the 


CHORDO    OF    THE    SEVENTH    AND    NINTH. 


187 


lecond  n.easure,  the  seventh  in  the  first  chord,  which  is  a  discord  of  the 
lecond  class,  becomes  a  discord  of  thfe  third  class  in  the  second  chord,  before 
it  resolvjs.  In  the  third  measure,  the  seventh  in  the  first  chord  becomes  the 
ninth  in  the  second  chord,  before  it  resolves.  This  example  is  so  written  for 
the  sake  of  illustration  ;  it  is  not  grammatically  correct,  for  consecutive  fifths 
occur  in  it  In  the  fourth  measure,  the  ninth  in  the  first  chord  becomes  the 
eleventh  in  the  second  chord,  before  resolving.  It  will  be  seen  by  these  ex- 
amples, that  a  discord  may  become  any  harsher  discord  before  resolving,  but 
not  the  reverse.  A  diminished  fifth  may,  therefore,  become  a  seventh,  ninth, 
eleventh  or  thirteenth.  A  seventh  may  become  a  ninth,  eleventh  or  thir- 
teenth ;  but  cannot  become  a  fifth.  A  ninth  may  become  an  eleventh  or 
a  thirteenth,  but  cannot  ibecome  a  seventh  or  a  fifth.  An  eleventh  can  be- 
come a  thirteenth,  but  cannot  become  a  ninth,  a  seventh  or  a  fifth. 

In  the  avoided  cadences,  on  page  145,  we  have  seen  that  retaining  the 
third  of  the  fir^t  chord  of  the  sequence  makes  a  chord  of  the  seventh  of  the 
second  chord  ;  and  on  page  181,  that  retaining  the  fifth  of  the  first  chord 
makes  a  chord  of  the  ninth  of  the  second  chord.  The  following  table  de- 
notes progressions  in  avoided  cadences  in  which  both  the  third  and  the  fifth 
are  retained,  i.  e.,  in  which  the  first  chord  is  a  chord  of  the  seventh,  and  the 
second  chord  a  chord  of  the  seventh  and  ninth,  or,  in  other  words,  like  the 
avoided  cadences  on  pages  145  and  181,  united.  Of  course  it  requires  five 
parts  to  form  a  complete  chord  of  the  seventh  and  ninth.  Some  of  the  pro. 
gressions  denoted  in  the  table  cannot  be  done  in  five  parts,  but  can  be  in 
six  parts. 


1     1 

1            ( 

1      2     1    1      3      11      4 

7  7,9  1  7  7,9    7  7,9 

7  7^,9 

2      1      1    2      2     1    2      8         2      4 

7  7,"9  1  7  7,"9  1  7  7,"9    7  7,9 

2      5 

7  7,9 

3      1      1    3      2     1    3      3      1    3      4 

7  7r9  1  7  779  1  7  7,9    7  7,9 

3      5 

7  7,"9 

4      1      !    4      2     1    4      3         4      4 

7  779    7  7,-9  1  7  7,9    7  779 

4      5 

7  7,"9 

•      -9-  -0-     -2 


188  ?HORnS    OF    THE     SEVENTH    AND    ^INTH. 

The  above  are  examples  of  the  first  and  second  progressions,  denoted  in 
the   able,  the  first  being  in  five  parts,  and  the  second  in  six. 

When  the  chord  of  the  seventh  and  ninth  is  usea  in  a  four  part 
composition,  either  the  third  or  the  fifth  of  the  chord  must  be 
omitted. 

Chord  of  7,9  with  the  Chord  of  7,9  A'ith  the 

third  omitted.  fifth  omitted 


As  the  chord  of  the  seventh  and  ninth  is  composed  of  five  tones,  of  course 
one  which  properly  belongs  to  the  chord  must  be  omitted  in  a  four  part  com- 
position. It  will  readily  be  seen  that  the  third  or  the  fifth  are  the  only  tones 
which  can  be  omitted,  without  destroying  the  character  of  the  chord. 

Avoided  deceivincr  cadences  (see  page  149,)  can  be  made,  with  a  chord  of 
the  seventh  and  ninth  for  the  second  chord  of  the  sequence,  by  retaining  the 
fundamental  note  and  the  third  for  the  first  chord,  and  making  them  become 
the  seventh  and  ninth  of  the  second  chord,  as  in  the  following  example.  If 
he  student  wishes  for  more  practice  upon  the  chord  of  the  seventh  and  ninth 
ne  can  work  out  this  variety  of  avoided  deceiving  cadences  through  all  the 
forms.  It  must  be  noticed  that  the  letters  V  and  VI  are  used  here  as  on 
page  183,  to  denote  the  movement  peculiar  to  a  deceiving  cadence,  and  not 
to  denote  the  chords  of  five  and  six,  although  if  the  exercise  is  continued 
through  the  octave,  as  directed  on  page  145,  those  chords  will  of  course 
occur  in  their  turns.  In  the  deceiving  cadences  which  commence  on  pages 
147  and  149,  the  sequence  is  made  to  commence  in  each  instance  with  the 
chords  of  five  and  six,  and  it  is  in  fact  seldom  the  case  that  a  deceiving  ca- 
dence is  made  with  any  other  chords  than  V  and  VI,  but  in  these  examples 
those  letters  are  used  to  denote  a  progression  in  which  the  fundamental  note 
of  the  second  chord  is  a  degree  above  that  of  the  first,  and  not  to  denote  the 
chord  of  V  or  VI. 

1        1  1^2^ 


CHORDS    OF    THE     SEVENTH    AND    ELEVENTH.  189 

The  student  should  now  compose  tunes  and  pieces,  introducing  the  chord  ot 
the  seventh  and  ninth. 

A  chord  composed  of  a  common  chord,  with  tones  which  are  a 
seventh  and  an  eleventh  fvjom.  the  fundamental  note  added  to  it,  is 
sailed  a  Chord  of  the  Seventh  and  Eleventh. 

Chords  of  the  Seventh  and  Eleventh  in  the  Major  Mode. 

i       J      Jr     4     t:     t     t 

m S m 2 m 

\ « 2 « 2 0 


-^i 


J: 0 # 1 1 p 

l7,ll        117,11    IIl7,i,       IV7,n    V7,,i      Vl7,ii    VIl7,ii 
Chords  of  the  Seventh  and  Eleventh  in  the  Minor  Mode. 


-A — J — J — « — m — m~S 


-»■ 


^» — i — i— #S — i — i— #» 


h,n  n7.11  n#47^ii  1117,11  iV7,ii  #iV7,ii  V7,ii  vi7,ii  vn,^!! 

The  remarks  in  reference  to  the  use  of  the  chord  of  the  seventh  and  ninth,  ap- 
ply to  the  use  of  the  chord  of  the  seventh  and  eleventh.  In  avoided  deceiving 
•cadences,  if  the  fundamental  note  and  the  fifth  of  the  first  chord  of  the  sequence 
-  are  retained,  they  will  become  the  seventh  and  the  eleventh  in  the  second  chord. 
The  student  can  write  out  such  avoided  deceiving  cadences,  in  all  the  forms,  as 
an  exercise  in  the  use  of  the  chord  of  the  seventh  and  eleventh.  The  following 
are  the  first  and  second  progressions  of  such  a  set  of  cadences. 


j?rr; 


t^: 


-f-  f — !•-  I — I* 


The  chord  of  the  seventh  and  eleventh  is  composed  of  five  tones,  and  can  only 
be  used  complete  in  five  parts.  When  used  in  a  four  part  composition  the  third 
of  the  chord  must  be  omitted. 


190 


CHORDS    OF    THE    NINTH    AND    ELEVENTH. 


Chord  of  the  seventh  and  eleventh 
with  the  third  omitted. 


I.  will  be  seen  that  the  third  or  the  fifth  are  the  only  tones  which  can  be 
omit.ed  without  altering  the  character  of  the  chord.  In  a  chord  containing  the 
eleventh,  it  is  always  better  to  omit  the  third. 


The  student  should  now  compose  tunes  and  pieces,  introducing  the  chord  of 
the  seventh  and  eleventh. 


A  chord  composed  of  a  common  chord,  with  tones  which  are  a 
ninth  and  an  eleventh  from  the  fundamental  note  added  to  it,  u 
called  a  Chord  of  the  Ninth  and  Eleventh. 


Chords  of  the  Ninth  and  Eleventh  in  the  Major  Mode. 

_J__J   J^  *    *     *    ? 


a==i==S=: 


T- 


liEpl 


19,11    119,11    i"9,ii    i'^9,ii    '^g.ii    ^^19,11  ^11 


Chords  of  the  Ninth  and  Eleventh  in  the  Minor  Mode. 

It  "l~^i~~s~^  "^'      — ^~  ' — 

19,11     "9,11  "#19.11  i"r,_u  ivg^ii  #1^9  11   V911    vr^ii    vir.yi 


In  avoided  deceiving  cndcncoi^,  if  the  third  .ind  fifth  of  the  first  chord  are  re- 
tained, they  will  become  the  ninth  and  eleventh  in  the  .'^ccond  chord.  The  stu- 
dent can  write  out  such  avoided  deceiving  cadences,  in  all  the  forms,  as  an  ex- 
ercise in  the  use  of  the  chord  of  the  ninth  and  eleventh.  The  following  are  the 
first  and  second  progressions  of  such  a  set  of  cadences, 


CHORDS    OF    THE    SEVENTH,    NINTH    AND    ELEVENTH. 


191 


fr" 


1         1 


-p- 


i^i 


T' 


-T&c 


The  chord  of  the  ninth  and  eleventh  is  composed  of  five  tones,  and  can  only 
be  used  complete  in  a  composition  of  five  parts.  In  a  four  part  composition  th« 
third  must  be  omitted. 

Chord  of  the  ninth  and  eleventh 
with  the  third  omitted. 
I 


It  will  be  seen  that  the  third  or  the  fifth  are  the  only  tones  which  can  be 
omitted  without  altering  the  character  of  the  chord.  In  a  chord  containing  an 
eleventh  it  is  always  better  to  omit  the  third. 

The  student  should  now  compose  tunes  and  pieces,  introducing  the  chord 
of  the  ninth  and  eleventh. 

A  ihord  composed  of  a  common  chord,  Avith  tones  which  are  a 
seventh,  ninth  and  eleventh  from  the  fundamental  note  added  to  it 
is  cal.ed  a  Chord  of  the  Seventh,  Ninth  and  Eleventh. 


Chords  of  the  Seventh,  Ninth  and  Eleventh  in  the  Major  Mode. 


I 
-«- 

— m- 
—  m- 
— m- 
— m- 
— •- 


t 


j: — #— — •■ 1 1 

^7,9,11    "7,9,11   ni7^9,ii  IV7^9,11  V7^9_ii  VI7  9  j^ 


^^"7,9,11 


Chords  of  the  Seventh,  Ninth  and  Eleventh  in  the  Minor  Mode. 

I  j  \  0  -0- 

j ! J ; — ^« — m i — ig: — -»: 


^t — s — s — #« 


— »»l — ■ i,- 

__5j — J. 


i* 


m 


'7,9,11    "7,9,11  "#47^9,11  "17,9,11  ^l,^,n  4frV7,R,ll  ^7,9,11  Vl7^9^ii  '^^Ifi^W 


192 


CHORDS    OF    THE    SEVENTH,    NINTH    AND    ELEVENTH. 


In  avoided  deceiving  cadences,  if  the  fundamental  note,  third  and  fifth  of  the 
first  chord  are  retained,  they  will  become  a  seventh,  ninth  and  eleventh  in  the 
next  chord.  The  student  can  work  out  such  a  set  of  sequences,  as  an  exercise 
in  the  chord  of  the  seventh,  ninth  and  eleventh.  The  following  are  the  first, 
Becond  and  third  of  such  a  set  of  sequences. 


-] — ^~~r     : 


-S— » 


_i — -p 

V7  vi7Q,n 


iflEf" 


i^  -i-  •    d   *  -i-  -•- 


1        3 

V7    Vl7,9,ii 


W- 


As 'the  chord  of  the  seventh,  ninth  and  eleventh  is  composed  of  six  tones,  ft 
can  only  be  used  complete  in  compositions  of  six  parts.  When  used  in  a  com- 
position of  four  parts,  the  third  and  fifth  must  be  omitted. 


Chord  of  the  seventh,  ninth  and  eleventh, 
with  the  third  and  fifth  omitted 


The  student  should  now  compose  tunes  and  pieces,  introdttcing  chords  of  tlw 
•erenth,  ninth  and  eleventh. 


CONCLUDING    REMARKS    ON    DISCORDS.  193 


CHAPTER    LIV. 

CONCLUDING    REMARKS    ON    DISCORDS. 

When  two  or  more  discords  are  included  in  a  chord,    they   may 
s«*«olve  one  at  a  time,  provided  the  sharper  resolves  first. 


1 

1 

1 

— 1 — 

1 

— «  — 

-J— 

—m- 

-T- 

« — 

-«  — 

—  «  — 

-0- 

i 

— 1 — 

=1- 

—  *! — 

— n- 



m  — 
-0- 

— « — 

-9- 

=^ 

«—— « m- 

m « «- 

-9-  -9-  -0- 


17.11 


In  the  first  measure  of  the  above  example,  the  first  chord  is  a  chord  of  the 
seventh  and  ninth.  The  ninth  resolves  first  and  then  the  seventh.  In  the 
second  measure,  the  first  chord  is  a  chord  of  the  seventh  and  eleventh.  The 
eleventh  resolves  first  and  then  the  seventh.  In  the  third  measure,  the  first 
chord  is  a  chord  of  the  ninth  and  eleventh.  The  eleventh  resolves  first  and  then 
the  ninth.  In  the  fourth  measure,  the  first  chord  is  a  chord  of  the  seventh, 
ninth  and  eleventh.  The  eleventh  resolves  first,  then  the  ninth,  and  then  the 
seventh.  The  last  measure  is  wrong,  because  the  seventh  resolves  before  the 
ninth,  which  is  the  sharper  discord  of  the  two. 


The  above  chord  embraces  all  the  tones  of  the  scale,  and  in  accordance  witli 
the  terms  which  have  been  applied  to  the  other  chords,  its  name  would  be 
chord  of  the  seventh,  ninth,  eleventh  and  thirteenth.  The  different  combinationg 
m  which  the  tones  of  this  chord  (in  whole  or  in  part,)  can  be  placed,  repeated 
on  each  tone  of  the  major  and  minor  scale,  (i.  e.,  with  each  tone  of  the  major 
and  minor  scale  for  the  fundamental  note,)  form  all  the  chords 
[17] 


194  CONCLUDING     REMARKS    ON    DISCORDS. 

I  I  II  III 


I  -«-    I      \   -m-     I    -m-  -m-      i      -0t-     -«- 


— i' — ^  — J— H--  m — I— « — #1 « 0. «- 

« — 1 — \ — V-m—m—m     -n — i 1 — « « 1 « — 1-|- 

m-0-m—m-  #1— •-•! — «-*--« — 0 m — « « — ■-■- 

I     ^7    I'J    ^11  ^3    l7,0  17,11  l7,13  ^9,11  ^9,13^1,13  ^7,9,nl7,ll,13^t,ll,1.3  ^7,9,11:13 

In  the  above  example  the  tones  of  the  chord  of  the  seventh,  ninth,  eleventh 
and  thirteenth,  are  combined  in  every  possible  way,  with  a  ct>mplete  common 
chord,  and  with  I  of  the  major  sca'e  as  the  fundamental  note.  These  com- 
binations, repeated  on  each  tone  of  the  major  and  minor  scales,  (i.  e.,  with 
each  tone  of  both  scales  as  t})e  fundamental  note,)  form  all  the  chords  possi- 
ble in  music.  Some  other  (apparent)  varieties  can  be  formed  by  omitting 
the  third  or  fifth,  or  both,  of  the  common  chord,  but  the  omission  of  those 
tones  of  the  conmion  chord  makes  no  essential  change  in  the  character  of  a 
discord,  (as  has  been  seen  in  Chapter  LTf,)  and  consequently  such  (appa- 
rent) varieties  cannot  be  considered  as  different  chords.  For  example,  the 
chord  of  the  seventh  and  ninth  with  the  third  omitted,  as  on  page  188,  can- 
not be  considered  as  a  different  chord  from  the  chord  of  the  seventh  and  ninth 
complete,  because  the  omission  of  the  third  does  not  alter  the  character  of  the 
chord. 

The  student  is  already  familiar  with  all  the  chords  contained  in  the  above 
example,  except  those  combinations  which  are  formed  with  the  thirteenth, 
which  are  so  seldom  u.sed  that  it  has  seemed  hardly  de^irable  to  write  a 
course  of  exercises  upon  them. 

Remark  on  Pedal  Notks.  —  In  addition  to  the  explanation  in  reference 
to  pedal  notes,  on  page  155,  it  is  necessary  to  explain  that  the  tone  which 
is  the  pedal  note  must  be  a  concord  when  it  first  appears  on  the  degree  ol 
the  staff  on  which  it  is  to  be  a  pedal  note,  and  mast  also  be  a  coiKord  when 
it  leaves  that  degree  of  the  staff. 


In  the  first  part  of  the  above  example  the  base  is  a  pedal  note.  When  it 
first  appears  on  the  degree  of  the  staff  on  which  it  is  to  be  a  pedal  note,  it  19 
the  fundamental  note  of  the  common  chord  of  I,  which  is  a  concord.  In  the 
last  chord  in  which  it  appears  on  that  degree  of  the  staff,  it  is  also  the  funda- 
mental note  of  the  common  chord  of  1.  In  the  second  and  third  parts  of  the 
example,  the  same  base  note  is  a  pedal  note,  but  incorrectly  used,  because 
K  the   second   part  of  the  example  it  is  not  a  concord  in  the  chord  in  which 


APPOGGIATURAS    AND    PASSING    NOTES.  195 

(t  first  appears  as  a  pedal  note,  and  in  the  third  part  of  the  example  it  is  not 
a  concord  in  the  last  chord  in  which  it  appears  as  a  pedal  note.  By  "  con- 
cord"' is  meant,  of  course,  some  tone  in  a  chord  which  is  not  a  discord, 
as,  for  example,  the  fundamental  note,  third  or  fifth  of  any  chord,  (not  the 
diminished  or  superfluous  fifth,  however.) 

The  student  should  now  compose  tunes  and  pieces,  introducing  all  the  ra- 
rieties  of  chords  which  are  possible  in  music 

ENI>    OF    TREATISE    ON    CHORDS. 


CHAPTER   LV, 


APPOGGIATURAS,        PASSING    NOTES, 


A  tone  placed  wpon  the  accented   part  of  a  raeasure,  without 
■^ferenoe  to  th«  chords,  is  called  an  Appoggiatura, 
It  is  right  to  skip  to,  but  not  from  an  appoggiatura, 

Appoggiatnras  and  passing  notes  are  a^ike  in  every  respect,  except  that  it 
is  allowed  to  skip  to  an  appoggiatura,  while  a  passing  note  must  be  approached 
-arid  left  without  skips.  An  appoggiatura  may  he  appropriately  described  as 
an  aoc«ited  passing  note.  Although  appoggiaturas  are  explained  as  being 
allowed  only  on  the  accented  part  of  the  measure,  composers  frequently  use 
ahem  as  the  first  of  a  group  of  two  or  more  notes,  whether  those  notes  arc 
en  the  accented  part  of  a  measure  or  not. 


In  the  first  meastn-e  of  the  ahove  example,,  the  fifst  and  third  quarter  notes 
are  appoggiaturas.  As  it  is  a  quadruple  measure,  and  these  quarter  notes 
ate  on  the  "first  ant!  third  parts  of  the  measure,  the  appoggiaturas  are  appro][ri- 
ately  used  on  the  accented  parts  of  the  measure.  In  the  second  measure, 
the  first  o^  each  group  of  eighth  notes  is  an  appoggiatura.  Although  two  of 
them  are  on  unaccented  parts  of  the  measure,  composers  do  not  hesitate  to 
Mse  thera  so. 

Although,  in  one  sense  of  the  word,  appoggiaturas  and  passing  notes  arc 
•nimportant,  i.  e.,  do  not  make  an  essential  difference  in  th.  character  of  a 
piece,  they  impart  all  that  is  ornamental  and  grr.oeful  to  it.     When  they  are 


|9f»  APPOGGI.VTURAS    AND    PASSING    NOTES. 

freely  used  th-re  is  great  danger  of  breaking  the  rules,  especially  t'lc  rulei 
against  consecutive  fifths,  octaves,  &c.  As  chords  form,  so  to  speak,  the 
solid  framework  of  a' musical  composition,  and  appoggiatuns  and  passing 
notes  the  oiuamental  work,  it  is  highly  importunt  the  student  should  hecome 
skilful  in  usiu'^  them.  It  is  therefore  recommended  that  he  shall  carefully 
work  out  the  ftjllowing  exercises,  which  are,  in  each  instance,  Practical  Ex 
ercise  No  8,  with  one  or  more  parts  broken. 

Rkm.vkk. It  will  be  better  for  the  student  to  use  four  staves  in  these  ex- 
ercises, placing  the  treble,  alto,  tenor  and  base  each  on  a  separate  staff. 

1st.  Take  Practical  E.xercise  No.  8,  (page  88.)  arrange  it  in  dispersed 
harmony,  write  the  alto,  tenor  and  base  in  half  notes,  and  break  the  treble 
into  quarter  not  s,  as  in  Example  No.  1,  on  page  197. 

In  these  exeni-es  the  broken  part  must  be  kept  moving  all  the  time,  i.  e., 
a  tone  must  not  be  struck  twice  in  succession.  In  the  first  measure  of  ex- 
ample No.  1,  it  will  be  seen  that  the  treble  moves  to  different  members  of  the 
two  chords,  and  that  that  measure  contains  no  passing  notes,  while  in  the 
second  measure  the  first  and  third  notes  do  n  )t  belong  in  the  chords,  but  are 
appoggiaturas.  Ob.serve  that  the  unbroken  parts  are  to  be  written  just  as 
they  "were  in  the  student's  dispersed  harmony,  except  that  th^y  must  be  in 
half  instead  of  quarter  notes  Also  observe  that  the  tones  in  the  broken  part 
must  either  belong  to  the -chord,  or  be  an  appoggiatura  or  passing  note. 

2d.   Break  the  alto  into  quarter  notes,  as  in  Example  No.  2. 

3d.   Break  the  tenor  into  quarter  notes,  as  in  Example  No.  3. 

4tli.  Break  the  base  into  quarter  notes,  as  in  Example  No.  4. 

5th.   Break  the  treble  into  eiglith  notes,  as  in  Example  No.  5. 

6th.   Break  the  alto  into  eighth  notes,  as  in  Example  No.  6. 

7th.  Break  the  tenor  into  eighth  notes,  as  in  Example  No.  7. 

8th.   Break  the  base  into  eighth  notes,  as  in  Example  No.  8.    . 

9th.  Break  the  treble  into  sixteenth  notes,  as  in  Example  No.  9. 

10th.   Break  the  alto  into  sixteenth  notes,  as  in  Example  No.  10. 

11th.  Break  the  tenor  into  sixteenth  notes,  as  in  Example  No.  11. 

12th.  Break  the  base  into  sixteenth  notes,  as  in  Example  No.  12. 

1.3th.  lireak  the  treble  into  various  short  notes,  as  in  Example  No.  13. 

14th.  Break  the  alto  into  various  short  notes,  as  in  Example  No.  14. 

1.5th.   Break  the  tenor  into  various  short  notes,  as  in  E.xample  No.  15. 

IGth.  Break  the  ba.'^e  into  various  short  notes,  as  in  Example  No.  10. 

17th.  Break  the  treble  into  eighth  notes  and  the  tenor  into  quarter  nut'  s,  as 
in  Example  No.  17. 

18th.  Break  the  alto  into  eighth  notes  and  the  base  into  quarter  notes,  as  is 
Example  No.  18. 

19th.  Break  the  treble  into  quarter  notes  and  the  tenor  into  sixteenth  notea^ 
»s  in  Example  No.  19. 


APPOGGl  LTURAS    AND    PASSING    NOTES. 


197 


l20th.  Break  the  alto  into  quarter  notes  and  the  base  into  sixteenth  notes,  at 
A  Example  No.  20- 

21st.     Break  all  the  parts  into  notes  of  various  lengths,  as  in  Example  No.  21. 


No.  1 


111  )    t    I     I    I    1 


^ — i*^ 


"n — 


:n_=n=: 


r— p- 


—1 r-^ ^— 


f&c 


:&c 


No.S. 


iiitgiiiii§iig|{ 


&C 


No.  a 


!  -^- 


fs-— rz^T    ,r-z:zEZi:c~        r— :-t— p — i i 


&o 


No.  4- 

I 


^idzZZ-^r 


:-j^z::^f: 


s 


ES^l^i 


&c 


W^ 


-^- 


._^- 


-^-i^ 


^^ 


£1--^: 


_s^ 


ri7»] 


198 


APrOGGIATURAS    AND    PASSING    NOTES. 


No.  5 

I 


^-^==g=F^::EE^ 


'<S)- 


^1- 


-nf r— T 

3EE3-:3^ 


=«Si=^&c 


El' 


No.  G. 


,5==l?_=E|E:iEE:^EJEffEE3=.^i.e 

pE:^:E:JE^=E:^§iEf--M.. 


No.  7. 


=-_-,b=.-4:=x:^=h==r==j^r4=z= 


:r_25: 


::^=1 


Es^i: 


:^ — e1 


:_p 1_ 


No.  8. 


?z=:tz::E^EZ —  czii — .sEL_-^r_ 


&« 


-J=^ 


I 


=Jg^^#&i^!I'" 


& 


-l-r-H— f-i-r-r 


APPOGGIATURAS    AND    PASSING    NOTES. 


.99 


No.  9. 


^    fes,    ^  j"^     i^g;    fe^    F^    r— . 


^-i&c 


^=-==f^ 


-- !g:_- 


|e|||e5?||e^|eJ. 


No    10. 


*■ 


No  II. 


-e: 


^. 


THI^L 


^ 


hcQ 


^57;  Pr:  ==a  ra   I'i^s^  =T?^  05 


=5|&c 


No.  13. 


ST 


:S^: 


:=z:=:S^z.zz__f 


III 


&L€ 


&C 


BOD 


APPOGGIATURAS    AND    PASSING    NOTEt 


No.  13. 


■S^g^^^f&« 


tS- 


—I T — S^S" 

1       "S 


^ 1 


T&c 


No.  14. 

I      N 


&c 


-f=- 


^liiliiS 


^     ^^^ n^ T&e 

— r 


No.  15. 


:^-:T— 


^-it: 


a    t    — I *r 

:|=t=l5C=— ^: 


&e 


-^  ^  r?i  1"^  ^ 


^--==p=r|z=:^.-:3:^$-g:z:z=vf^==|&e 

No    IC 

^  -si- 


F&g 


-«s- 

I 


=:rz^P 


^ 


f^^^ 


APPOGGIATURAS     AND    PASSING    NOTES. 


201 


No.  17. 


•**.    *^    r^    1^     r-1    i^    ^    ^ 

;*7i"^:r!=-Ti=e=E?i7=i^i=a:-!E{&c 


ee==e§p^3^Pe;=e^ 


r&c 


No.  18. 


is: 


(»---s  9-f-a-^  r- 


— =t&c 


-^-  u  '-^  u    '^  '^1  r"^-  -fj' 


9'       i 


No.  19. 


-=j£fe^EE^EEi^Ef&« 


r  .-^  -fs- 


iiEEe=iEE£EEEl 


■P- 


"F 


No.  ao. 


! I 1         , 

1  3  r — 1 \- 

I  I  II 


f 


^ 


(fcc 


202 


UODULATION. 


No.  31. 


;?s. 


■-^M 


••#•?. 
^ 


1     ^ 


I 


5^ 


:sSr 


p 


r:.r^_-<=-,c^-. .'_J 


^!^ 


j^,-r 


r*'  "^ — i       I      J2J 

iErtEFz^EE^EEEEEEEf"- 


CHAPTER    LVI. 


MODULATIOPf. 


The  subject  of  Modulation  was  explained  in  Chapter  XVIIT,  rna 
additional   exj)lanations  and  remarks  in  reference    to   it   have   been 


MODULATION. 


203 


made  in  subsequent  Chapters,  so  that  the  student  can  hardly  be 
otherwise  than  practically  familiar  with  it.  A  few  additional  re 
marks  and  exercises  are  added  in  this  Chapter,  although  they  cab 
hardly  be  said  to  be  necessary. 

Keys  which  have  the  most  letters  in  common,  are  said  to  bfl 
nearest  related.  The  keys  of  C  and  G  have  all  but  one  letter  in 
common,  the  key  of  C  having  A,  B,  C,  D,  E,  F,  G,  and  the  key 
of  G  having  A,  B,  C,  D,  E,  F  sharp,  G.  There  is  no  F  sharp  in 
the  k"ey  of  C,  and  no  F  in  the  key  of  G,  but  all  the  other  letters 
are  common  to  both  keys,  consequently  these  two  keys  are  said  to 
be  related  to  each  other  in  the  nearest  possible  manner.  The 
Keys  of  B  and  C,  D  and  A,  E  and  B,  F  and  C,  E|)  and  A  [>,  <fcc.,  &c., 
sustain  an  equally  near  relation  to  each  other.  Modulations  to  a 
key  sustaining  the  nearest  possible  relation,  is  always  the  pleasant- 
est.  The  more  remote  the  key,  the  harsher  will  always  be  the 
modulation.  In  common  Church  Tunes,  Simple  Glees,  and  easy 
music  of  all  kinds,  it  will  be  seen  that  modulations  to  the  nearest 
key  are  almost  exclusively  employed.  Thus,  a  tune  in  the  key 
of  C,  almost  invariably  modulates  to  the  key  of  G  or  the  key  of  F, 
and  seldom  to  a  more  remote  key. 

Keys  which  have  all  letters  but  one  in  common,  (i.  e.  differ  but 
one  sharp  or  flat  in  the  signature,)  are  said  to  be  one  degree 
removed  from  each  other.  Keys  which  differ  two  sharps  or  flats 
in  the  signature,  are  said  to  be  two  degrees  removed  from  each 
other.  Keys  which  differ  three,  four,  five,  six,  seven,  &c.,  sharps 
or  flats  in  the  signature,  are  said  to  be  three,  four,  Jive,  six,  seven,  &c., 
degrees  removed  from  each  other. 

The  chord  most  commonly  employed  for  the  purpose  of  modu- 
lation is  V,  or  V7,  but  any  chord  can  be  employed  with  equal 
propriety. 

By  means  of  V,  or  V7,   modulate  from  the  key  of  C,  to  all  the  other  keys, 
(viz :  Db,  1),  Eb,  E,  Y^,  G,  Ab,  A,  B[).  B.) 
From  C  to  D. 


Modulation  from  C  to  D^- 

:5bfizbS5| 


From  C  to  Efj. 


1^3: 


(fee 


V7 


Modulate  from  the  key  of  A  Minor  to  all  the  Minor  keys,  by  means  of  V,   of 


804 


MODULATION. 


The  chord  next  most  commonly  used  in  modulations,  is  the 
double  diminished  chord  of  the  seventh.  Exercises  in  modulation 
by  means  of  this  chord  are  given  on  page  132. 

It  will  be  well  for  the  student  to  write  exercises,  modulating  from  the  keys 
of  C  major  and  A  minor  to  every  other  key,  in  every  possible  manner,  employ- 
ing every  possible  chord. 

When  modulations  arc  made  to  keys  only  one  or  two  degrees 
distant,  the  modulation  can  scarcely  be  harsh  whatever  chords  are 
used,  but  when  the  transition  is  to  more  remote  keys,  the  harshness 
of  the  modulation  is  modified  in  proportion  to  the  number  of  tones 
in  the  modulating  chord  which  belong  in  both  keys.     See  page  131. 

It  will  be  a  good  exercise  to  examine  all  the  chords  enharmonically,  (See 
page  134,)  and  find  which  belong  in  more  than  one  key. 


In  the  above  example  the  common  chord  of  I  in  the  major  key  is  examined 
enharmonically.  The  three  tones  composing  it,  are  expressed  in  thirteen  differ- 
ent ways.  If  in  either  of  the  ways,  the  three  letters  composing  the  chord 
belon"  in  one  key,  that  example  will  be  useful  for  modulation.  Those  in  which  the 
three  letters  do  not  belong  in  the  same  key,  are  useless.  In  the  seventh  c  hord 
the  three  letters  as  there  expressed  belong  in  the  key  of  C#  minor,  constit  (tint; 
b  that  key,  the  chord  of  the  eleventh  of  VII:|f4. 


Key  of  C#  Minor. 


Key  of  A  Minor. 


-^fft 


vn#4. 


^ 


3^: 


IV    I     Vll#4j,  V 


CONCLUDING    REMARKS.  205 

In  the  above  examples  the  chord  of  the  eleventh  of  VII  with  gharp  four 
is  represented  complete  in  the  key  of  (Ji^  minor,'  and  also  in  the  key  of  A  mi- 
nor. An  example  of  a  modulation  by  means  of  the  chord  of  I  enbarmonicall} 
changed  to  Vll^hi  is  also  given.  The  chords  of  II,  III,  IV,  V,  VI  and  VIl 
in  major,  and  I,  II,  II=ff4,  III,  IV,  #IV,  V,  VI  and  VII  in  minor,  can  be  en- 
harmouically  examined  in  the  same  way,  as  aLo  all  the  chords  of  the  seventh,  ninth, 
eleventh,  &c.  Practical  Exercise  No.  31,  (page  159,)  in  passing  from  the  twelfth 
measure  to  the  thirteenth,  jumps  from  the  key  of  G,  to  the  key  of  E{),  without 
any  modulation  whatever.  A  perfect  close  is  made  in  the  twelfth  measure,  and 
the  thirteenth  is  considered  as  commencing  a  different  strain,  having  no  harn)onio 
connection  with  anything  before  it. 


CHAPTER    LVII. 


CONCLUDING    REMARKS. 


Cadences.  Perfect,  imperfect,  and  mock  cadences  are  explained  on 
page  143.  The  common  chord  of  IV  followed  by  the  common  chord 
of  I,  is  said  to  form  a  Plagal  Cadence.  Practical  Exercise 
No.  21,  closes  with  a  plagal  cadence.  Some  anthers  do  not  approve 
of  the  nse  of  plagal  cadences,  bnt  most  composers  occasionally 
employ  them,  especially  in  Sacred  music. 

Perfect  cadence.    Imperfect  cadence.    Plagal  cadence. 

t 


VI  I  V  IV        V 

Strict  Style.  Free  Style.  Compositions  in  which  a  certain 
number  of  parts  are  preserved  throughout,  are  said  to  be  in  strict 
STYLE.  Compositions  in  which  the  parts  are  unequal,  are  said  to 
be  in  free  style.  A  psalm  tune  is  a  composition  in  strict  style, 
because  it  consists  of  four  regtilar  parts  throughout.  A  Piano-Forte 
fantasia  (and  in  fact  most  piano-forte  compositions.)  is  a  composition 
in  free  style,  because  no  regularity  in  the  number  of  parts  is  ob- 
served. The  rules  of  harmony  apply  strictly  only  to  compositions 
in  strict  style.  In  free  style,  the  general  character  of  the  compo- 
sition must  be  in  accordance  Avith  the  rules,  but  as  in  that  style  on« 
chord  may  consist  of  three  letters,  and  the  next  chord  to  it,  of  seven 
the  same  exactness  that  is  required  in  strict  style  canrotbe  obse  veA 
[18] 


206  CONCLUDING     RKMARKS. 

Pedal  Notes.  On  page  15S,  the  upper  parts  in  the  second  chord  of 
thcnrst  example  in  Chapter  XLV.  are  described  as  pedal  notes.  Perhaps  the 
chord  may  more  properly  be  called  the  chord  of  the  seventh,  ninth  and  eleventh, 
(see  page  191,)  in  which  case  the  Treble,  Alto  and  Tenor  are  the  discords,  and 
BS  such,  are  properly  prepared  and  resolved. 

Chords  of  tiik  Eleventh.  In  the  example  of  "  chords  of  the  eleventh  as 
usually  used,"  on  page  183,  the  chord  of  ^IVn  is  accidentally  omitted. 

Cadences.  The  sequences  in  cadences  are  introduced  solely  for  the  purpose 
of  exercise  with  the  various  discords.   They  are  of  no  practical  utility  in  composition 

Examination  of  Music.  As  directed  on  page  106,  at  all  stages  of  his  stud- 
ies, the  student  should  examine  compositions  of  different  authors,  and  notice 
particularly  whether  the  rules  of  harmony  are  observed,  and  also  the  peculiari- 
ties in  each  composer's  method  of  using  the  different  chords. 

Violations  of  Rules.  In  the  examination  of  various  compositions,  the 
student  will  undoubtedly  find  numerous  violations  of  the  rule?,  even  in  works 
of  composers  of  undoubted  merit.  In  all  such  cases  he  must  endeavor  to  decide 
whether  a  rule  is  broken  designedly,  and  if  designedly,  whether  the  composer  is 
justified  in  varying  from  the  rule.  The  rules  of  harmony  are  deduced  from  the 
compositions  of  classical  composers.  These  composers  never  used  consecutive 
fifths,  and  so  consecutive  fifths  are  forbidden.  So  with  the  other  rules.  If  a 
composer  is  convinced  that  in  a  particular  passage,  a  violation  of  a  rule  will  pro- 
duce a  good  effect,  he  will  not  usually  hesitate  to  violate  it  ;  but  it  may  be 
doubted  whether  any  of  the  fundamental  rules  can  be  violated  with  good  effect. 

Consecutive  Fifths.  It  does  not  require  a  refined  ear,  to  detect  the  un- 
pleasant effect  produced  by  two  parts  moving  in  consecutive  fifths.  Some,  hold 
that  when  two  tones  forming  perfect  fifths  are  struck,  the  tone  which  is  a 
major  third  from  the  lowest  tone  vibrates  from  sympathy,  and  is  consequently 
heard  at  the  same  time  with  tho.«e  forming  the  fifth,  and  that  the  unpleasant 
effect  is  only  produced  when  this  "  invisible"  mnjor  third  is  out  of  the  key. 

:#5=i:-»::=«::± 


If  ttic  first  three  of  the  above  chords,  are  played,  one  after  tlie  other,  the 
effect  will  be  very  unpleasant,  occasioned,  according  to  th's  theory,  by  the 
first  being  in  the  key  of  C,  the  second  in  the  key  of  D,  and  the  third  in  the  key 
of  E.  In  the  last  measure,  the  two  chords  are  both  in  the  key  of  C,  and  it  will 
be  noticed  that  tlie  effect  of  that  consecutive  fifth  is  much  le.ss  unplea.sant  than 
in  the  first  measure.  Some  good  composers  hold  that  consecutive  fifths,  are  un- 
objectionable, when  introduced  in  such  a  manner  that  the  presence  of  a  major  thin! 
in  them  will  not  j)roducc  another  key,  as  in  the  second  measure  of  the  above 
example. 

Consecutive  Octaves  and  Primes.  If  a  composition  has  four  regular 
parts,  the  listener  hears  the  progression  of  four  parts,  at  the  performance  of  each 
chord.  If,  in  such  a  piece,  consecutive  octaves  or  primes  are  introduced,  the 
effect  upon  the  listener,  is  as  if  one  part  had  been  destroyed,  and  another  doubled 
in  power.     For  example,  if  the  ptuls  are  equally  balanced,  upon  the  introduction 


SUBSEQUENT    STUDIES. 


207 


if  octaves  or  primes,  one  part  disappears,  and  another  is  heard  of  double  Ine 
fower  required  to  preserve  the  proper  balance.  This  is  the  sole  objection  to 
octaves  and  primes.  Of  course  they  are  of  no  consequence  in  free  style,  and  in 
Etriet  style,  where  composers  are  not  particular  about  a  nice  balance  of  parts, 
tbey  are  sometimes  employed. 

Musical  Composition.  Writing  a  piece  of  music,  resembles  writing  a 
story.  As  a  story  may  be  written  without  a  blemish  in  its  grammatical  con- 
struction, and  yet  be  a  flat  and  insipid  story,  so  a  musical  composition  may  be 
faultless,  as  far  as  the  rules  of  harmony  are  concerned,  and  yet  be  an  uninterest- 
ing and  meaningless  composition.  As  interesting  and  meritorious  tales  are 
frequently  written  by  those  who  have  not  the  rules  of  grammar  at  command, 
so  interesting  and  meritorious  musical  compositions  are  often  written  by  those 
who  are  ignorant  of  the  rules  of  harmony.  It  is  only,  however,  when  inventive 
powers  and  harmonic  knowledge  are  combined,  that  compositions  interesting 
and  grammatically  correct  can  be  written. 

END  OF  TREATISE  ON  HARMONY. 


CHAPTER    LVIII. 

SUBSEQUENT      STUDIES. 

The  student  who  has  faithfully  studied  this  work,  is  now  familiar  with  all  the 
chords,  and  the  rules  which  govern  the  progression  of  the  tones  which  compose 
the  chords.  If  he  has  followed  the  directions  literally  he  has  already  composed 
tunes  himself,  and  perhaps  finds  no  diflBculty  in  writing  simple  psalm  tunes, 
glees,  or  instrumental  compositions.  Were  he  to  attempt  the  composition  of  an 
oratorio  or  symphony,  he  would  probably  find  that  the  materials  which  a  knowl- 
edge of  the  chords  afford  him,  are  not  sufficient  to  produce  all  the  effects  he 
would  desire.  Perhaps  most  students  who  have  made  themselves  masters  of 
harmony,  when  first  attempting  composition,  feel  inclined  to  ask  themselves 
"how  shall  I  make  the  different  parts  move  in  order  to  make  a  good  tune  ?" 
Although  the  answer  to  this  question,  is  "just  as  you  please,  provided  you  break 
no  rule/'  it  has  been  found  better  to  classify  the  various  progressions  that  can 
be  made,  when  of  course,  the  composer  who  is  familiar  with  every  variety  of 
progression,  will  have  a  resource  to  draw  from,  where  his  own  imagination  fails- 
The  theory  of  music  may  properly  be  arranged  under  seven  different  heads. 

1st  Elementary  Principles.  2d.  Thorough  Base.  3d.  Harmony. 
4th.  Counterpoint.     5th.  Fuge.     6th.  Canon.     7th.  Form. 

The  First,  (Elementary  principles,)  must  of  course  be  studied  preparatory 
I)  learning  to  sing,  or  learning  to  play  upon  any  musical  instrument. 

The  Second,  (Thorough  Base,)  teaches  such  a  knowledge  of  chords  as  is  nece* 
"tiry,  in  order  to  play  by  chords  upon  the  piano-forte.  One  who  is  familial 
iFith  Thoroutrh  Base,  will  be  able  to  tell  the  name  of  every  chord,  and  will  be 


208 


SUBSEQUENT    STUDIES. 


able  to  play  four  part  compositions  upon  the  piano,  organ,  &.C.,  reading  fom 
parts  at  once  by  chords,  but  will  know  nothinn;  of  the  manner  in  which 
chords  must  be  treated  in  order  to  make  good  sounding  tunes.  In  other  words, 
Thorough  liasc,  teaches  its  student  to  read  and  play  chords  which  others  have 
written,  but  not  to  compose  them  himself.  Persons  who  wish  to  be  able  to 
play  psalm  tunes,  glees  and  such  pieces,  in  which  it  is  necessary  to  read  four 
parts  at  once,  (which  can  only  be  done  by  such  a  classification  of  the  tones  into 
chords,  as  to  require  but  one  operation  of  the  mind  to  read  four  parts,)  but  who 
do  not  wish  to  compose  tunes,  voluntaries  or  interludes,  need  no  further  knowl- 
edge of  chords  than  is  taught  in  Thorough  Base. 

The  Thiud,  (Harmony,)  teaches  such  a  knowledge  of  chords  as  will  enable 
the  student  to  compose  music. 

Tue  Fourth,  (Counterpoint,)  teaches  the  classification  of  the  various  pro- 
gressions which  can  be  made  with  the  different  parts.  For  example,  Contra- 
punr.tiis  aequalis  or  equal  counterpoint,  in  which  the  notes  in  each  part  are  of 
equal  length ;  Contrapunctus  inaequalis,  or  unequal  counterpoint,  in  which 
the  notes  of  the  different  parts  are  of  unequal  length  ;  Conlrapunclus  diminu- 
tus,  in  which  there  are  several  notes  in  one  part  against  one  in  the  other; 
Contrapunto  alia  diritta,  in  which  ono  of  the  parts  moves,  throughout, 
ascending  or  descending  in  the  order  of  the  scale;  Contrapunto  di  Salto ; 
Contrapunto  in  Sultarello,  &cq.,  &c. 


Contrapun  2tus  aequalis. 


Contrapunctus  inaequalis. 


'^ 


gEgj^g^gil 


iiiSi^ 


-^*-,;^>-,.^-^.«r"f-^-f2- 


mm^^m^m 


Contrapunctus  diminutus. 


mmi 


Contrapunto  alia  dirltta. 


^z 


tzftztEEdi:! 


1=? 


1=f 


A  part  of  the  terras  applied  to  the  different  kinds  of  counterpoint,  are  Latin, 
and  a  part  Italian.  The  foregoing  examples  are  in  what  is  termed,  "  Single 
Counterpoint."  The  following  example  is  a  specimen  of  one  species  of  "  Double 
Counterpoint,"  called  "The  Octave."  There  are  numerous  other  varieties. 
In  this,  it  will  be  seen  that  one  part  is  repeated  an  "  octovo''  higher,  while  the 
>ther  remains  at  the  same  pitch. 


SUBSEQUENT    STUDIES. 


209 


The  Fifth,  (Fuge,)  teaches  a  style  of  composition  in  which  a  theme,  com- 
menced in  one  part  alone,  and  repeated  at  the  commencement  of  each  other 
part,  is  the  ground  work.  For  want  of  space  to  explain  even  one  of  the  numer- 
ous varieties  of  fuges,  the  following  commencement  of  one  of  Bach's  fuges  is 
given  as  an  illustration  of  this  style  of  composition.  It  will  be  seen  that  the 
theme  is  expressed  by  the  first  six  notes,  and  that  it  is  repeated  at  the  com- 
mencement of  the  tenor,  a  fifth  higher,  at  the  commencement  of  the  alto  an 
octave  higher,  and  at  the  commencement  of  the  treble,  a  twelfth  higher  than 
it  is  where  it  commences  in  the  base. 


&c. 


):zi— :r:i;;zzi^izd:5riEii-i=^«'=l?=i-:^= 


[^#T:»00=^=^initf=:*??=:B^-zz:Ti:]:z=:zzi:=::zz:i 


210  SUBSEQUENT    STUDIES. 

The  Sixth,  (Canon,)  teaclies  a  style  of  composition,  in  which  the  parts  commence 
one  after  the  other  as  in  a  fuge,  and  in  which  the  notes  in  each  part  are  exactly 
alike,  and  the  tones  bears  exactly  the  same  relation  to  each  other,  from  the  first  to  the 
last  In  the  following  example,  it  will  be  seen  that  the  half  notes,  quarter  notes,  and 
eighth  notes  in  the  treble,  occur  in  exactly  the  same  order  that  they  do  in  the  base ; 
and  tliat  the  treble  has  the  same  theme  which  is  contained  in  the  base,  only  an  octave 
higher.  There  are  many  varieties  of  Canon.  In  some  the  themes  are  a  seventh,  a 
sixth,  &c.,  apart.  In  others,  one  part  contains  the  theme  "  augmented,"  i.  e.,  with 
the  notes  twice  as  long  in  one  part  as  in  the  other,  &c.,  &c. 


lS3^!^i^^|^|%|J^^ 


:^±:i*«. 


The  Seventh,  (Form,)  teaches  the  order  in  which  the  different  musical  ideas 
which  form  a  musical  composition  will  produce  the  most  pleasing  effect.  Little  or  no 
attention  is  paid  to  "  Form"  in  vocal  music,  but  classical  writers  have  usually  arranged 
lone  instrumental  compositions  under  one  or  more  of  the  following  forms,  viz  :  "  Alle- 
gro Form,"  Minuetto  Form,"  "  Variation  Form,"  and  "  Rondo  Form."  A  brief 
description  of  Allegro  Form,  will  convey  an  idea  of  what  is  meant  by  this  department 

A  piece  arranged  in  Allegro  Form,  must  be  in  two  parts.  The  first  part  must  have 
Ist,  a  Theme  ;  2d,  a  preparation  ;  3d,  another  theme  on  the  dominant,  (i.  e,  in  a  key 
a  fifth  distant  from  the  key  of  the  first  theme,)  called  the  "  Middle  Sentence ;"  4th,  a 
passage  called  a  "  cadence,"  with  which  the  first  part  may  close,  or  there  may  be 
added,  5th,  small  cadences  called  "  Codas."  The  second  part  must  have,  1st,  a  Theme, 
either  like  the  theme  at  the  commencement  of  the  first  part,  or  entirely  different ; 
2d,  a  preparation ;  3d,  a  long  phrase  called  a  "  Fantasie,"  in  which  the  composer  has 
full  liberty  to  introduce  difficult  modulations,  &c.,  &c, ;  4th,  the  first  theme  of  the 
first  j)art  again ;  5th,  the  "  Middle  Sentence"  in  the  tonic  (i.  e.  the  theme  which  is 
called  the  "  Middle  Sentence"  in  the  first  part,  and  which  is  there  on  the  Dominant, 
must  here  be  repeated  in  the  key  of  the  first  theme  of  the  first  part,)  6th,  cadence. 

To  give  the  student  an  idea  of  the  seven  departments  into  wliich  the  theory  of 
music  is  divided,  the  following  works  are  mentioned.  "  Boston  Academy  of  Music's 
Manual,"  contains  252  pages,  and  treats  exclusively  of  the  Elementary  Principles. 
•'Johnson's  Instructions  in  Thorough  Base,"  contains  120  pages,  and  treats  exclusively 
of  Thorough  Base.  "  Johnson's  Instructions  in  Harmony,"  contiiins  210  pages,  and 
treats  exclusively  of  Harmony."  "  Andre's  Lehre  des  Contrapunkte,"  contains  286 
pages,  and  treats  exclasively  of  Counterpoint.  "  Andre's  Lehre  dcr  Fuge,"  contains 
340  pages,  and  treats  exclusively  of  Fuges.  "  Andre'«  Lehre  d.'s  Canons,"contains  828 
pages,  and  treats  exclusively  of  Canons.  No  separate  volume  upon  "  Form"  has  e"  «r 
l^ien  published 


INDEX. 


Occidentals 5i 

A-nalyzing  music,    ....     106,  178,  206 

Appogiaturas, 196 

Avoided  cadences, 145 

Avoided  deceiving  cadences,     ....  149 

Best  positions, 33 

Cadences, U3,  206 

Cadences,  avoided,     ........  145 

Cadences,  deceiving,  ........  149 

Cadences,  imperfect, 143 

Cadences,  mock 143 

Cadences,  perfect 143 

Cadences,  plagal 205 

Cadences,  suspended 158 

Canons, 210 

Chief  chords  of  the  seventh, 108 

Chord  of  I.,  third  form 48 

Chords  of  the  seventh,    .   .   .    7,106,173 

Cliords  of  the  ninth, 12,178 

Chords  of  the  eleventh 13,181 

Chords  of  the  thirteenth, 184 

Chords  of  the  seventh  and  ninth,  .  14,  186 
Chords  of  the  seventh  and  eleventh,  15, 189 
Chords  of  the  ninth  and  eleventh,  .  15, 190 
Chords    of  the   seventh,  ninth  and 

eleventh 15,191 

Chords  of  the  seventh,  ninth,  eleventh 

and  thirteenth, 193 

Chords,  recapitulation,  .    .    .  99, 173,  185 

Close  harmony, 31 

Common  chords,  .    .    .   .  5,  10,  21,  56,  99 

Common  chords,  major, 21,  56 

Common  chords,  minor, 21,  56 

Common  chords,  diminished,  22, 44,  56, 62 
Common  chords,  superfluous,  .  .  .66,  71 
Common  chords,  double  diminished, .  .  84 
Common  chords,  major  diminished,  .  .  97 
Common  chords,  recapitulatic^,  ...  99 
Common  chords  o''"'yid  VI, 77 


CompositioD,    ...........  207 

Concords, 44 

Consecutive  fifths,  ....  29,  51,  7. ,  206 

Consecutive  octaves 34 

Consecutive  primes 42 

Contrary  motion, 29 

Counterpoint, ,  208 

Deceiving  cadences, 147 

Diminished  common  chords, .  22, 44, 5S,  G2 

Diminished  fifths 17,  45 

Diminished  chords  of  the  seventh,   .   .  136  ' 

Discords, 14,  44,  77,  198 

Dispersed  Harmony, 39 

Dominant 109 

Double  diminished  common  chords, .   .    84 
Double  diminished  chords  of  the  seventh,  125 

Double  sharps, 56 

Double  flats, 55 

Elementary  principles, 207 

Elevenths 18,  181 

Elevenths  and  sevenths, 15,  189 

Elevenths  and  ninths 15,  190 

Fifths,  perfect, 29,  51,  71 

Fifths,  diminished, 17,  45 

Fifths,  superfluous 66,  71 

Fifths,  consecutive,    .   .   .29,51,71,206 

Fifths,  hidden 60 

Figure  of  a  sequence, 76 

Figures,  original  use  of, 11 

Figured  base, 5 

Fixed  resolutions, 64 

Flats, .10,54 

Flats,  double, 55 

Flats,  triple, 55 

Form 210 

Forms, 26,49,180 

Free  tones, .    C4 

Free  style, 20i 

Fuge,    .   .  2t>9 


Fundamental  note, 5 

Given  melody 70 

Harmony, 208 

Harmony,  close, 81 

Harmony,  dispcreed, 39 

Hidden  fifths  and  octarca 60 

Imperfect  cadence, 143 

Intervals, 16.  51 

Leading  note, 42 

Major  diminished  common  chord,    .    .    96 
Major  diminished  chord  of  the  seventh,  164 

Major  key, 57 

Major  mode, <^7 

Major  scale, IS,  105 

Mediant 109 

Minor  key, 56,  57 

Minor  mode, 57 

Minor  scale, 51 ,  105 

Mook  cadences, i'i3 

Modes 57 

Motion, 29 

Modulition,    ...  36,  105,  132,  177,  202 

Musical  composition, 207 

Naturals 10,  55 

Ninths 12,  178 

Ninths  and  sevenths, 14,  186 

Ninths  and  elevenths, 15,  190 

Oblique  motion, 29 

Octaves, 84 

One  chord  sequences 79 

Original  use  of  figures, 11 

Own  melody, 70 

Passing  notes 151, 191 

r«dal  notes 155 

Perfe;rt  cadence, 148 

Perfect  fifths 29,  51,  71 

Plagal  cadence, 205 

Positions, 84 

Practical  exercises, 67 

Preparation, 44,  71,  188 

Primes, 42 

Progression 28 

Recapitulation  of  common  chords,   .   .    99 
Recapitulation  of  chords  of  the  seventh,  173 


Recapitulation  of  chtards,  .   .       .   .   .  18& 

Recapitulation  of  discords, 198 

Resolution 41   62,  71 

Rule  I. 29 

Rule  II., 34 

Rule  III '. 42 

Rule  IV., 43 

Rule  v., 45 

Rule  VI., 4& 

Rule  VII., 50 

Rule  VIII., 60 

Sc.ile,  major, 18 

Scale,  minor, 51 

Second  forms,  . 4'.) 

Sequences, 7i> 

Sequences  in  cadences, 143,  20& 

Sequences  in  avoided  cadences,  ...  .145 
Sequences  in  deceiving  cadences,  .  .  .  147 
Sequences  in  avoided deceiviBgcadetces,149 

Sevenths, 7,  106,  17;* 

Sevenths  and  ninths, 14,  18G 

Sevenths  and  elevenths,  ....  15,  18'.? 
Sevenths,  ninths  and  elevenths,       15,  lUl 

Sevenths,  recapitulation, 173 

Sharps 10,  54 

Sharps,  double, bo 

Sharps,  triple, b'^ 

Sharp  four, 84,  96,  177 

Signature, 19 

Similar  motion, 2'j 

Strict  style, 20."; 

Superfluous  common  chords,    .    .    .  56,  71 

Superfluous  fifths, 51,  56,  71 

Suspended  cadences, 158 

Theory  of  chords,   ......   .185,193 

Third  forms 49 

Thirteenths, 185 

Thorough  base, 5,  207,  210 

Tonic, 109 

Triple  diminished  chords  of  the  seventh,  160 

Triple  flats 56 

Triple  sharps, 55 

Unisons, 42 

Violation  of  rulo^        206 


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